Information common to all B1 courses · 2020. 9. 3. · FORMAT: Lecture, Studio B1 Architectural design • History • Building technology • Representation • Professional practice

Information common to all B1 courses

Dalhousie UniversitySchool of Architecture

Fall 2020

Term CoordinatorCristina Verissimo

Design InstructorsPeter Braithwaite Chad JamiesonAmber KilbornBrian LilleyCristina Verissimo

Ancient Settlements, Buildings & Landscapes InstructorsSarah BonnemaisonElizabeth Loeffl er

Building Technology InstructorEmanuel Jannasch

Professional Practice InstructorSusan Fitzgerald

Representation InstructorLeon Katsepontes

Left image: Allegorical engraving of the Vitruvian primitive hut, Charles Eisen.From Marc-Antoine Laugier, Essai sur l’architecture, 1755.

Right image: Primitive Hut – we.will.soonsource @ iwewillsoon.wordpress.com, Nov 13 2011

B1 TERM OUTLINE

ARCH 3001 DesignCREDIT HOURS: 6This studio course introduces principles of architectural design, focusing on elementary building types of room and pavilion. Through case studies and original design work, students develop skills in problem defi nition, building organization and geometry, structural and material development and visualization. Additional topics include the social and symbolic functions of architecture and design as a response to site.FORMAT: Lecture, Studio

ARCH 3106 Ancient Settlements, Buildings, and LandscapesCREDIT HOURS: 3This course explores the origin and evolution of human settlement patterns from prehistory to the early modern era. With a comparative analysis of global cultures, it considers geographic, ecological, social, and economic factors that are common or unique. Topics include land use, habitation, defensive structures, monumental complexes, commercial districts, infrastructure, and communication networks.FORMAT: Lecture, Tutorial

ARCH 3207 Building TechnologyCREDIT HOURS: 3This course studies aspects of building technology that act as primary generators of architectural form: structure, material, light and sound. Construction process is examined in terms of materials, methods and sequences. Principles of building structure and methods of structural analysis are introduced. The physics and perception of light in built environments are studied. Quizzes and tests are complemented by studio exercises.FORMAT: Lecture, Studio

ARCH 3301 Professional PracticeCREDIT HOURS: 1This course introduces the role and place of the architect in society, with an emphasis on the development of the profession through history. It also studies representation methods employed by architects and their implications for design.FORMAT: Lecture, Seminar

ARCH 3501 RepresentationCREDIT HOURS: 3This course studies fundamental concepts, techniques, and applications of architectural representation. Class work involves freehand drawing, orthographic drawing, model making, and photography. Drafting and modeling equipment are required.FORMAT: Lecture, Studio

B1Architectural design • History • Building technology • Representation • Professional practice

St Paul’s Cathedral, London, late 17th century. Cross-section show-ing the brick cone between the inner and outer domes.

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The Architect

Case Studies I

Case Studies II

The Making of Architecture

Tutorial on Manifesto

Manifesto Pin-up

——

tutorial

practice

Seminar 1

Seminar 2

Design Statement Workshop

Seminar 3

Seminar 4

Mid-Term Quiz

Seminar 5

——

Seminar 6

Seminar 7

Seminar 8

Design Statement Questions /answer

Studio

StudioElements of archi’l form (BL)

Studio

Room Analyses present to your college

Studio

Plan section elevation (AK)Studio: students conversation

with M5 student on Case Study

Studio

Asst 3: Pavilion Counterpoint (CVer)

Studio - base drawings

Studio

Studio

Studio

Asst 1: My Room in City StudyPurpose of architecture /Design in context (CVer)

Studio

Studio

Studio

Asst 2: Pavilion Case Study (CVer)

Stereotomic vs Tectonic expression (CJ)

Studio

Studio

From parti to project (PB)

Studio

Studio

Studio(Update portfolio

to include work to date)

Studio

Lecture 1: Introducton; Prehistory: Sacred

Caves and Nomads

Lecture 2: Ancient Civilizations: First Cities in

Mesopotamia and Egypt

Lecture 3: Early Aegean; On the Trail of

Alexander the Great

Lecture 4: Two Empires: Ancient Rome and

China

Lecture 5: The Silk Roads and the Spread of

Theravada Buddhism

Lecture 6: Spread of Mahayana Buddhism.

Lecture 7: The Americas: Pre-Columbian Cities

and Trade

Lecture 8: Byzantium and Islam

Lecture 9: Pilgrimages and Crusades/Jihads – Christianity and Islam. Soldiers and

monasteries Lecture 10:

Medieval Cities – Venice, Ghent (Hanseatic League). Trade, exchange,

banking

Lecture 11: Renaissance and the Birth of

Humanism

Final Quiz

y

monday fridaythursdaywednesdaytuesday

tech hist design hist design

Project 3 Review

Thanksgiving Day(no class)

B1 / M5 charette

room

in th

e ci

tyca

se s

tudy

pav

ilion

pavi

lion

coun

terp

oint

1: My Room in City Review

Invite M5 Students

Portfolio Review 1Two Tutors per student

Portfolio Review 2 Wed Dec 17 and Thu Dec 18 (schedule tba)

2: Case Study Pavilion Review

Photography (KK)Cutting Tutorial (EJ / Regan)

conceptboard tutorial (Josh)

Workshop working with paper (co. by KK)Workshop other

materials Drafting Tutorial (TS)

Modelling (PB)VectorWorks (EJ)

Student Rating of Instruction (SRIs)

ORIENTATION WEEK

rep

Intro to B1 Rep Lecture: Line

Line part 2

Lecture: Orthographic, line

due

Orthographic part 2

Lecture: Model

Model part 2, orthographic due

Lecture: tone, photo due Tone part 2

Tone part 2

Lecture: collage/mock-up tone due

Presentation mock-up

Photography (KK)9-12:30

Photo part 2 (KK)

Week 0Sept 7-11

Week 1Sept 14-18

Week 2Sept 21-25

Week 3Sept 28-Oct 2

Week 4Oct 5-9

Week 5Oct 12-16

Week 6Oct 19-23

Week 7Oct 26-30

Week 8Nov 2-6

Week 9Nov 9-13

Week 10Nov 16-20

Week 11Nov 23-27

Week 12Nov 30-Dec 4

Week 13Dec 7-11

Week 14Dec 14-18

Labour Day Holiday

Computer Skills

Water, Shelter, Durability

Forces and Structures

Light and Heat

Fall Study Break (No classes)F ss

The Big Picture

Studio

Your fi rst term in Architecture has been designed to offer you a comprehensive and immersive experience of architectural design, advanced through an integrated suite of courses: design studio, building technology, and architectural representation. In the design studio, you will learn architectural design skills and put them to practice. In the building technology course, you will learn to make your designs work with gravity, wind, sunlight and rainwater. In the representation course, you will learn to visualize and communicate your design ideas. Architectural history and case studies in design studio will help you to learn from 2,500 years of accumulated knowledge about human settlement, while professional practice will introduce you to an architecture career today.

All architects develop and communicate their ideas through drawing. Whether you already enjoy drawing or you are new to visual thinking, two very important tools for your development as a designer are the sketchbook and the process portfolio.

Sketchbook

The sketchbook is a small and portable diary. Make it your permanent companion. Take it home to put down your design ideas, or make notes on what you want to work on tomorrow. It should be a way to immediately record:- Your thoughts, observations and refl ections about architecture, site visits, etc. - Use it to explore design ideas in a sketch format. - Notes on the results of your desk critics and reviews. - Help you with the skills of drawing. Take the time to make at least a free drawing a day through observation. Draw human fi gures, space and objects. Try to improve your drafting abilities, the sense of scale, dimensions, proportions, perspective, light, materiality, etc.

The Sketchbook is also a personal item. Let us know if you want to share it with us.You can always scan / photocopy some of its pages and include them in your Process Portfolio.

B1Architectural design • History • Building technology • Professional practice • Representation •

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Process Portfolio

The process portfolio is a tool that will help you to fi nd paths and the method to develop your project. It will help you:- To understand the relations between the sketch and the design process.- To develop the capacity of observation, the skill and knowledge of the act of design process and the sensitivity to plastic and aesthetic values;- To create conditions to face the act of project design with agility, spontaneity and awareness;- To stimulate in the project the presence of the non-systematic, symbolic and poetic components of design.- To promote satisfaction and knowledge of the need and pleasure of representation; the expression of number and measure; the visual memory of outer and inner reality.- To recognize that drawing is the graphic expression of an intentionality that should seek its matrix in the external reality and in the heritage of Design and Architecture;- To understand that one can learn to draw by drawing and drawing. The intentionality of the drawing is also in the matrix that the student is the author.- To understand the importance to make mistakes. To acknowledge that in order to achieve a solution the student should test it over and over and the sketch can be a fast tool.

In your courses, you will encounter a wide range of references that you may fi nd useful or inspiring as you develop your designs. These might be photographs, site maps, projects by other architects, poetry, written or photographic descriptions that evoke a sense of place or an effect you would like your design to achieve. As you work on your design, you will make many sketches and architectural drawings of your project as it evolves. These might include impressions of a building from a distance, how it meets the ground or landscape, the play of light on surfaces, or how one material meets another. You might study the structural system that supports a building, or how water is led away from a building. These sorts of studies should fi nd their way into your process portfolio. You may also paste pages from your sketchbook directly into the process portfolio! If you wish you can sketch directly on your Process Portfolio 18”X 24” format pages and upload them to Conceptboard (web-based) location.

For more information on this topic please go to the School’s guidelines for B1-B3 process portfolios and videos:http://tinyurl.com/beds-years-3-4

The format used at Dalhousie School of Architecture is using this year is a digital format on Conceptboard (web-based) Process Portfolio. The physical format is an A2 size or 18”X 24” inch paper. This large format encourages you to assemble a wide range of work on a single page, helping you to make connections and linkages between different drawings and images, to edit them, and show how architectural ideas evolve. When you meet with your tutor each week, use the process portfolios to show the tutor what you have been working on. The process portfolio will be reviewed at midterm and the end of term and its contents and format will constitute 15% of your fi nal mark in B1 Design. The Process Portfolio needs to be organized chronologically.

B1Assignments andReviews

AssignmentsArchitecture integrates many ways of thinking from many fi elds, so from time to time we’ll ask you to work on the same subject in several courses (most often Design, Technology, and Representation) and we’ll ask you to present the work at the same time, at the four B1 Pinups. Because our fi eld is so broad, you can expect informal feedback from all of your profs on any of your work, but formal evaluation and grading of an assignment happens within the course that sets it.

Group assignmentsGroup work requires team-building skills such as shared responsibility, good listening skills, adaptability and willingness to engage in a collaborative effort. In an effective team, the members agree on a shared goal and each member has a clearly defi ned role. Professionalism, respect and inclusion are essential aspects in all your interactions in the School, and are particularly important when collaborating with classmates. Some self-refl ection is needed throughout the process; to identify what is working and what is not working, and ways the team can be more effective or effi cient working as a group.

Academic integrityArchitectural is an applied art, employing knowledge and precedents developed by others in new contexts. When using the work of others, students are expected to recognize and attribute ideas and infl uences that have informed their work. Using the work of others without attribution is an infraction of the University’s academic integrity policy. To cite sources please go to: tinyurl.com/dal-arch-writing

Attendance and participation requirementsStudents are expected to work during studio time and to be present during the scheduled studio afternoon time period.

ReviewsStudents are required to present their work in a review. If a student expects to miss a review, they must submit a Student Declaration of Absence (SDA). In this case, the course coordinator will make special arrangements for an individual review. It is not permitted to miss a review without presenting a SDA.

CACB Student Performance CriteriaThe BEDS/MArch program enables students to achieve the accreditation standards set by the Canadian Architectural Certifi cation Board. They are described at https://tinyurl.com/cacb-spc-2017 (pages 14–17). Architecture courses in the B1 term address the CACB criteria and standards that are noted on the “Accreditation” page of the School of Architecture website: https://tinyurl.com/dal-arch-spc.

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The B1 Skill Tutorials are fundamental to give the students an opportunity to lean skills that introduce them to the basics of architecture tools. The Tutorials also convey the awareness of safety, when dealing with tools that are new to students or require specifi c learning skills.

B1Workshops and Skill Tutorials

This is the time expectation guideline per course for teaching online:For B1, the total would be about 38 hours per week:• 15 hours for Design (6 credit-hours)• 7.5 hours for Technology (3 credit-hours)• 7.5 hours for History (3 credit-hours)• 7.5 hours for Representation (3 credit-hours)• Professional Practice (1 credit-hour) will be extra during the last half of the term.

As an example, our time expectation guideline is that students should spend no more than 7.5 hours per week on all activities for a typical 3-credit-hour course. This includes everything: classes, tutorials, assignments, reading, acquiring materials, etc.

This guideline applies only to the B1 term, which is being conducted online. During a normal in-residence term, a typical 3-credit-hour course would expect a total of 9 hours per week.

B1Time expectation guideline per course

Dalhousie UniversitySchool of Architecture

Studio Co-Coordinators:Cristina VerissimoBrian Lilley

Studio InstructorsPeter Braithwaite Chad JamiesonAmber KilbornBrian LilleyCristina Verissimo

“in the morning, dreaming with old façades” Drawing of Manuel Graça Dias on Façades Essays, Macau, China, 1978. 1

ARCH 3001.06 | DesignCourse Outline | Fall 2020

R O O M P A V I L I O N

ARCH 3001 Design CREDIT HOURS: 6

Course descriptionThis studio course introduces principles of architectural design, focusing on elementary building types of room and pavilion. Through case studies and original design work, students develop skills in problem defi nition, building organization and geometry, structural and material development and visualization. Additional topics include the social and symbolic functions of architecture and design as a response to site. FORMAT: Lecture, Studio

Additional descriptionARCH 3001 Design is a studio-based architectural design course that introduces principles of architectural design, focusing on elementary building types of room and pavilion. As the fi rst studio in the architecture programme, it serves as a foundation for future studios, introducing you to fundamental architectural principles and essential design skills. Principles addressed include the social and symbolic dimensions of space, form and materials, and the impact of place and context on building design. These ideas are introduced in a thematic dialectic of the settlement and the shelter – that is, of situation and enclosure. The course also develops design skills such as problem defi nition, building organization and geometry, structural and material development, the use of scale, design methods and visualization in drawing and modeling.

Learning objectivesThe development of competence and skill in analyzing sites and buildings. Active observing through sketching is the foundation of architectural skill and knowledge, and it is developed through practice. Analysis of site and program is an essential preliminary to developing well-designed buildings — this is also known as “pre-design”. Architectural case studies are also important exercises to understand that built works of architecture are a resource and a teacher for the designer, to understand:

• how architecture supports human activities and conveys meaning;• how the composition of formal and spatial orders and the use of materials, are appropriate to the life (program) taking place in the building;• how buildings are sited and oriented to protect from the elements, and how they are articulated to create a pleasing interior ‘environment’ in terms of views in and out, daylight, shade, warmth and ventilation;• how buildings stand up (their structure, elements and materials) and how they are built.

To develop competence and skill in architectural design, in the following aspects:• the four aspects listed above, in support of the building’s composition and design strategy;• translate the design concept into an architecture proposal, considering material, arrangement , human experience of the building• a holistic approach to design, working simultaneously in plan and section, and at three scales of site, building, and detail; • craft in drawing and modeling; framing, editing, and focus in developing and communicating the design concept.

The development of competence and skill in design communication, both to advance your design work and to communicate it effectively to audiences, whether they are reviewers, client groups, or the public.

Course overview

(From top to bottom) Serpentine Pavilion, Kensington Gardens, London. SANAA, 2009 Infomab 10 Pavilion, Madrid. Kawamura Ganjavian, 2010Kivik Pavilion, Sweden. David Chipperfi eld and Antony Gormley, 2008

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Self-refl ection and collaboration skills. The architect Donald Schoen writes about the “refl exive practitioner”, as one who pays critical attention to the values (express through the term, in all the B1 courses) which inform their actions so they may continue to learn and gain insight into their own professional development. These skills also apply to working collaboratively with others.

Integration with other coursesBecause architectural design draws on the history of architecture and is developed through visualization and realized through building construction, this design studio is advanced in parallel with your history, representation and building technology courses. It shares some assignments with Building Technology and Representation. Please see Assignments for details.

Course format and weekly meeting timesThe course meets Tuesday and Friday afternoons, from 2:30pm to 6:00pm, AST for lectures, studio and reviews. Unless otherwise indicated, students will be working at their desk during class time, to be available for group work and desk crits.

Readings

Recommended:

Unwin, Simon. Analysing Architecture, 2003 edition is available electronically to multiple users. Here is the link to it in the catalogue: https://novanet-primo.hosted.exlibrisgroup.com/permalink/f/aufl pa/NOVANET_ALEPH001975261

Ching, Francis. Design Drawing, This book is also required for the Representation course.

Required equipment, materials

Equipment and materials. Each student will need basic drawing equipment for the fi rst year of architectural studies. The equipment list was sent before the beginning of the semester, due that we are in an online education system. Year 3 BEDS develops manual design skills such as sketching, drafting, and model-making. These will continue to be the founda-tion of design thinking throughout your studies, however this term we are going increasingly use digital design tools.

Please set up your work place in a comfortable way, using the equipment we sent/suggest you to acquire. Keep your materials, close to your work place.

CACB Student Performance CriteriaThe BEDS/MArch program enables students to achieve the accreditation standards set by the Canadian Architectural Certifi cation Board. They are described at https://tinyurl.com/cacb-spc-2017 (pages 14–17). This Dalhousie ARCH course addresses the CACB criteria and standards that are noted on the “Accreditation” page of the School of Architecture website: https://tinyurl.com/dal-arch-spc.

(From top to bottom) Wild Beast Pavilion, CalArts. Hodgetts and Fung, 2010

Oasis Pavilion, APMAP South Korea. OBBA, 2015UK Pavilion, Expo Milano. Buttress, 2015

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Assessment processGrading is done by each tutor, but in consultation with the other tutors. The course coordinators ensure fairness across the class sections, which may lengthen the time for timely feedback on the work.

Grading formatAfter each review, students will receive a letter grade. Additionally, the project reviews provide each student or team with extensive qualitative comments, while the two process portfolio reviews during the term provide individual oral feedback to each student. Students are welcome to record oral feedback. In the Design Course, students also receive feedback through Rubrics. On this topic please see pages 8 and 9 of the design outline.

Grade Point Percent Defi nition

A+ 4.30 90–100 Excellent Considerable evidence of original thinking; demonstrated outstanding capacity to analyze andA 4.00 85–89 synthesize; outstanding grasp of subject matter; evidence of extensive knowledge base.A– 3.70 80–84

B+ 3.30 77–79 Good Evidence of grasp of subject matter, some evidence of critical capacity and analytical ability; B 3.00 73–76 reasonable understanding of relevant issues; evidence of familiarity with precedents/the literature.B– 2.70 70–72

C+ 2.30 65–69 Satisfactory Evidence of some understanding of the subject matter; ability to develop solutions to simple C 2.00 60–64 problems; benefi tting from his/her university experience.C– 1.70 55–59

D 1.00 50–54 Marginal Pass Evidence of minimally acceptable familiarity with subject matter, critical and analytical skills.

F 0.00 0–49 Inadequate Insuffi cient evidence of understanding of the subject matter; weakness in critical and analytical skills; limited or irrelevant use of the literature.

INC 0.00 Incomplete W neutral Withdrew after deadline ILL neutral Illness, compassionate reasons

B1 / M5 charette: Week 3 Tuesday 29 September At week 3, Tuesday 29 September, the students are going to spend an afternoon in a Research Charette with M5 students. Each M5 student will work with one or two B1 students. The M5 student is responsible to develop the content of the charette and the topic.

Student ratings of instructionIn Week 12, Friday December 4 has been set aside for you to complete all student ratings of instruction (SRIs) for B1 courses. SRIs are helpful for the course instructors to learn what is effective in your learning and how the course and instruction may be improved. University policies on respect and inclusion apply to your feedback, as it does for all interpersonal interactions in your university studies.

University policies and resourcesThis course is governed by the academic rules and regulations set forth in the University Calendar and the Senate.

See the School’s “Academic Regulations” page (http://tinyurl.com/dal-arch-regulations) for links to university policies and resources:• Academic integrity• Accessibility• Code of student conduct• Diversity and inclusion; culture of respect• Student declaration of absence• Recognition of Mi’kmaq territory• Work safety• Services available to students, including

writing support• Fair dealing guidelines (copyright)• Dalhousie University Library

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AssignmentsThe course is organized around three projects, all of which are assembled and arranged in a process portfolio along with the other work of the term. Two of the projects are done with a partner or a small group, the fi nal project is individual work. Weighting of the course components is indicated below. Project or required component Participants % of mark

• Project 1: Part 1: My Room in the City (study of a room in an urban streetscape) Individual 20% Part 2: My Room in the City (design of a room in a room an urban streetscape) Individual 10% • Project 2: Part 1 : Case Study Pavilion (study of an exemplary pavilion) Team of 4-5 20% Part 2 : Pavilion Counterpoint (design of a pavilion that complements the case study) Individual 35% • Process portfolio (evaluated at midterm and end of term) Individual 15%

Group assignmentsProject 2 Part 1 involves group work.

ReviewsThe review format varies throughout the term: the review will be on-line (in which students present sequentially to several reviewers); informal discussions around a project; and/or presentation and ‘critique’ of design work to the whole class.

RubricsAfter each review, students will receive a letter grade; and detailed rubric evaluations will be provided. Additionally, the project reviews provide each student or team with extensive qualitative comments, while the two process portfolio reviews during the term provide individual oral feedback to each student. Students are welcome to record oral feedback.

Mid-term standingIn Week 6, October 20, each student will review their portfolio with a tutor. This oral review constitutes qualitative feedback on the progress of the student’s design work and their portfolio as a whole. By Week 7 (October 26-30), students will receive a letter grade for Project 1. Students will receive a letter grade on Project 2 during Fall Study Break, Week 8 (November 09-13). For detailed rubric evaluations, please go to Brightspace.

Resources / InputsAn architectural proposal is only as effective as the inputs used to create it. Well established design inputs can make the rest of your design process development easier as a result. Once you’ve defi ned your design inputs, you are ready to engage in core project development. The courses in the B1 Term provides you with some Design Resources and Inputs that will help you to develop your design. It is important that you also fi nd your own design inputs. Normally they are infl uenced by your own interests. Bring them in to our classes and record them in your portfolio. We will help you to see design potentialities in them.

Brightspace Studio Assignments informationEach student will have access to all the students work, organized by assignments on Brightspace.

Assignments and assessment

Scene: The Four courts and the Eiffel Tower, from Lars Lerup, Planned Assaults, MIT Press, 1987.

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This section of the course outline presents the criteria guidelines used for assessment of your work practices and outcomes. It is directly related to the course learning objectives set out on page 2. For standards used in the assessment of your work, please refer to the rubrics provided on Brightspace.

Design researchTo demonstrate competence, pre-design research should show a basic understanding of the following aspects:

observation and documentation of a site• through sketching, an analysis of the site’s features, constraints, opportunities, and characteristics

analysis of case study buildings• how architecture supports human activities and conveys meaning• the composition of formal and spatial orders and the use of materials, appropriate to the life taking place in the building• how a building is sited and oriented to protect from the elements and how it relates to its context. • how it is articulated to create a pleasing interior ‘environment’ in terms of views in and out, daylight, shade, warmth and ventilation• how the building stands up (its structure, elements and materials) and how it was built.

Design translation To develop competence and skill in translating analysis to an Arch Design Concept, using your research fi ndings in the design work:

• what are your research fi ndings and conclusions?• develop your design parameters based on your research fi ndings

Building designTo demonstrate competence, the design of a building should show a basic understanding of the following aspects, integrating knowledge from your building technology and history courses, through architectural characteristics such as:

program and habitation • supporting human activities through effective organization of the size, shape, and location of room(s) in a small building• civic presence and symbolic expression of the building• attention to the needs of individuals, social events and urban orderssite and context • the building’s siting, orientation and massing, in relation to its site, to protect from the elements and provide for a pleasing interior ‘environment’ (views in and out, daylight, shade, warmth and ventilation)aesthetics and cultural issues • composition of formal and spatial orders and the use of materials, appropriate to the building’s context and the life taking place in the building• awareness of the history of the place as well as buildings with a similar form, program, or site

Criteria for assessment

Zaha Hadid, Vitra fi re station, 1994, Weil am Rhein, Germany. Top to bottom drawings: aerial view landscape, painting; longitudinal sections; location drawing. Pencil and acrylic on paper.

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structure, construction and materials • the building’s structural strategy and structural elements developed in plan/section/volume • construction details and use of materials in support of its composition and design strategy

Design development and communicationTo demonstrate competence, representation of the design work to yourself and others should show a basic understanding of the following aspects, integrating knowledge from your representation course:

basic representational skills• use of plan, section, elevation, axonometric and/or perspective to develop the design• use of various techniques as needed, such as line drawing, tonal/colour rendering, and selection of media• craft in model construction and/or computer modeling • design development at the three scales of site, building, and detailstrategic use of representations • framing, editing, and focus in developing and communicating the design concept through drawings and models• composition, editing, and emphasis in a full presentation design presentation in periodic reviews• organized presentation of your research, fi ndings, design parameters or goals• organized presentation of your building design and its context• clear verbal presentation

Design process, self-refl ection and collaborative skillsTo demonstrate competence, your own design process should encompass the following basic skills:

self-refl ection on the design process• daily / weekly assembly of the design work in your process portfolio• refl ection on your design work to determine what is working well and why• development in design skill over the course of the term, evident in the process portfoliocollaboration with others• awareness of collaborative problem-solving techniques• recognition of problems encountered in teamwork• ability to identify strategies for improved collaboration in future projects

Criteria for assessment (cont.)

A design is never complete and every presentation is a work in progress.

We will be looking for hand-drawings in pencil and plans drawn to scale that are worked-over and revised, built up over time. Draw in people to study views and sightlines. Draw in sunlight and wind, to show how your design modulates these. Also, quick little study models — if done carefully to scale — are wonderful tools to study and develop your design ideas.

Zaha Hadid, Vitra fi re station, 1994, Weil am Rhein, Germany. cardborad models.

Part 2: My Room in the City (Design a Room in the Room in the City) | 10%

Part 1: My Room in the City (study of an Urban Room) | 20%

B1 StudioGrading Rubric Fall 2020- Dalhousie University

Starting from Direct Observation, demonstrate an understanding of key parameters for site analysis including; a) physical context b) cultural context, c) human activities, and d) environmental factors. Analyze and prioritize all parameters to determine site selec-tion. Provide evidence/rationale for fi nal selection.

Criterion 1 - Research + Analysis

Project 1: My Room in the City | 30%

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Criterion 2 - Design Translation

Demonstrate a range (minimum of 3) of design opportunities by investigating potential patterns of use, spatial geometries, environ-mental context, and material possibilities, all in relation to location, to enhance human comfort. Translate initial design ideas into a coherent Architectural Concept.

Demonstrate Architectural Design at the scale of the room. Design an architectural place through the composition of material (fl oor, wall, roof), thresholds and light, and defi ned volumetric space.

Criterion 3 - Design Proposal

Demonstrate communication techniques that effectively represent your design analysis, design ideas, concepts, and architectural design. Make effective use of a) Digital Photography b) Basic Mapping c) Sketching / Diagrams d) Orthogonal drawings - plan, section and elevations e) small conceptual models.

Criterion 4 - Communication (Part 1 and 2)

Part 2: Pavilion Counterpoint | 35%

Part 1: Case Study Pavilion | 20% Note: The group work will be evaluated equally among the members of the group.

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Demonstrate an understanding of Architectural research and analysis through indirect observation and primary research sources - how a building is situated in its physical, cultural, and historical context, organized by geometry and structure, described by circu-lation patterns and human activities, composed of architectural elements and material, and how it mediates environmental factors such as light and climate.

Criterion 1A - Research + Analysis

Project 2 Case Study Analysis and Counterpoint Pavilion | 55%

Criterion 1B - Analysis + Knowledge

Demonstrate an understanding of the main design principles and key decisions made, in regard to design intention, cultural or symbolic narrative, and some familiarity with precedent buildings (of a similar form, program, or site).

Demonstrate a range of design opportunities by investigating potential patterns of use, spatial geometries, environmental context, and material possibilities in response to the case study building. Translate initial design ideas into a coherent Architectural Concept (Parti).

Criterion 2 - Design Translation

Demonstrate Architectural Design at the scale of the Pavilion, that also addresses both City and Body scales. Design an archi-tectural place through site design, program accommodation, sequences of circulation, the composition of material, assembly and structure, thresholds and light, and defi ned volumetric space.

Criterion 3 - Design Proposal

Criterion 4A - Communication

Demonstrate communication techniques that effectively represent your Architectural analysis. Make effective use of concept sketches, computer-generated geometry, orthographic drawings (plan, section, elevation), concept models, diagrams, and written statement. Make an effective oral presentation.

Demonstrate Communication techniques that effectively represent your design ideas, concepts, and architectural design. Make effective use of Parti sketches, computer-generated geometry, orthographic drawings (plan, section, elevation), concept and mate-rial model studies, diagrams, and written statement. Make an effective oral presentation.

Criterion 4B - Design Communication

END OF TERM:

MIDTERM :


Evidence of self-refl ection and critical response to the process of Design. Refl ection includes comments on each phase of design process (Research and Analysis, Design Translation, Design Proposal, and Communication).

Criterion 5 - Process Portfolio

REFLECTION AND COLLABORATION RUBRICS | 15 %

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Criterion 5 - Process Portfolio

Evidence of self-refl ection and critical response to the process of Design. Design method demonstrates a developing understanding of the course learning objectives, and a clear development and testing of design ideas. Demonstrate completeness and clarity as a record of the term’s work, in a clean graphic format.

Project 1 My Room in the City

Plan of Rome showing fi gure-ground relationships of public space. Giambattista Nolli. 11

Project 1 My Room in the City

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Our fi rst project begins with a room.

The room is one of the fundamental elements of architecture and of the city. It comes in myriad forms. We usually think of rooms as being indoors. But the city also has outdoor rooms, where people socialize, linger, work, gather or seek solitude. In your fi rst exercise of the B1 Term, you are asked to study a public room in your city / town.

Every room serves a purpose, which is to support human activities. Signifi cant rooms in a community carry the weight of additional layers of meaning. They are places that order the city around them, through their distinctive features of being set apart, providing an anchor between earth and sky, and accommodating activities signifi cant to the society — these may be rituals, social activities, ceremonial ones, and so on. Every important room has a sequence of arrival, and a threshold that traverses a boundary.

In this assignment, you are asked to investigate how these fundamental characteristics of place are manifest in the architectural culture. Choose an urban outdoor room close to where you live that you either have visited / dwelled / gathered with your friends or family.You will study/analyze “your” urban room using Direct Observation Skills.

Based on that analysis, a colleague of yours will be able to develop a design proposal in relation to, and in response to the room you have studied.

The objective is for you to develop design intentions, learn how to communicate these intentions to yourself and to others — using the architectural language of drawing — and to learn and practice architectural design.

You have to determine what activity that space will support (i.e. its ‘program’). It might be, for example, a place for gathering, for a retreat, work or a place for meals. It may be used by a maximum of 10 people.

Your proposal needs to include a canopy – roof, two walls and a pavement - fl oor, as three basic architecture elements. Also, you must demonstrate how the design proposal supports and improves the urban character of your study site. The colleague who made the analysis of the room can be your consultant. Direct Observation Tool / Skill:

Analysis of the building and urban site based on Physical Trace Evidence and Field Visits, the student as to be able to: Acknowledge the human body in place: sense of dimensions, proportions, grid; Activation on the 5 human senses (sight, smell, hearing, taste, and touch) and translation through drawings or diagrams; Ability to analyze / communicate a sense of comfort, materiality, day light, climate.

Lars Lerup, Love/House: Site (City, district, House). Ink, coloured pencil, goauche, watercolour on paper.Lars Lerup, Planned Assaults, MIT Press, 1987.

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The assignment is organized into 2 Parts:

Part 1: Study of a Urban Room

1. My Room in the City: site selection criteria2. Draw My Room in the City: using Direct Observation Skills3. Analyze the Room

Part 2: To design of a Room

1. Design a Room in the Room in the City

SQUARE (Plaza) - symbolic place, large dwelling space, center

THE COURTYARD (Atrium) - semi-private

THE PLINTH (Viewpoint) - belvedere, contemplation

AVENUE / STREET (the linear Space) - the essence is line, the experience is path.

THE PRECINCT - “precinct” means an area comprising of a building or buildings and an open space, thereof or related places that share wholly or partly certain common physical, social, cultural signifi cance worth preservation and conservation.

Part 1: Study of a Urban Room 1. My Room in the City: site selection criteria

Basic Architecture Elements: Floor, Wall and Roof.

in Unwin, Simon. Analysing Architecture, 2003 edition In next two pages it is presented the site selection criteria for your reference when you select a room in the city

Part 1: Study of a Urban Room 1. My Room in the City: site selection criteria

The Persistence of Formal Patterns, Author(s): Alexander Purves Source: Perspecta, 1982, Vol. 19 (1982), pp. 138-163Published by: The MIT Press on behalf of Perspecta.Stable URL: http://www.jstor.com/stable/1567058

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ace)

ESSENCE

Centric space(empty space)

Perimeter

Defi nes a volume which stands free

Line

Progression

Holy Ground (temenos)

EXPERIENCE

Permanence

Symbolic space

Movement

Semi-private

Contemplation

Path

Common space

GROUPS

Large

Medium

Individual

Small

Large

TOTEM

Monuments

Fountain

View

Direction

Signifi cant object

CIRCULATION

Common and continuous circulation

Encircles a central open space

Along perimeter

Movement

Passage

Progression

HIERARCHY

Important buildings

Arcade

Important buildings

No hierarchy Sometimes tower (s)

Rhythm

Symbolic elements

LIMITS

Precise Limits (enclosure)

Precise Limits (enclosure)

Above ground

No suggestion of end

Clear pavement limits

Organic and soft edges

ENTRANCE

Multiple entries

One / two

One / two

Ends

Multiple/ some-times gate

PROGRAM

Diverse types

One / two types

Work space

One type

Edges can contain diverse types

Recreation

Garden

Sports

Religious

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Grand Parade Square, Halifax Piazza del Campo, Siena, before 13th century

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T Tiananmen Square, Beijing, 1415

King’s College, Halifax

Cidadel Halifax

University Avenue, Halifax

The Commons, Halifax

Granada Palace, Spain Stepping well, India

Parade on Red Square, 1495Parade

Jemaa el-fna, Marrakech, Morocco, (comes alive at night)

Siheyuan, China Gary Comer Youth Center, Chicago,USA

whitechapel, 19th century, London,

Eiffel Tower observation deck Empire State Building, NY Unite Habitation-rooftop, Marseille

High Line, New York Canal in Holland, Netherlands Hutong-Beijing

Ryoanji Temple fi fteen stones, Zen Rock Garden on white gravel Kyoto Japan

Acropolis of Athens, Grece

Central Park, New York USA UNAM, National Autonomous University of Mexico

Market Port Harcourt, Nigeria

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My Room in the City: site selection criteria international examples

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2. Draw My Room in the City using Direct Observation SkillsWe encounter the world and understand it fi rst of all through observation. Drawing is active observation — it engages both body and mind to look and analyze.We are going to be using your room in the city for you to learn how to use direct observation for you to analyze architecture.

The Room Analysis starts with questions: What does the room look like? What are the room’s dimensions? What is the shape of the room? What are the organizing geometries of the room’s plan, section and elevations?

1 - In order to answer these questions, use your notebook and make a series of quick sketches/drawings on site. Measure your walking pace and use it to fi gure out the size of the room. Take pictures of the room and material details, with your telephone camera, using the skills taught in representation by Ken Kam. Practical tools: Use your pencil to measure heights you know (like the height of a person) and extrapolate to fi gure out bigger heights and widths. That is an intuitive tool, but you can also use a tape measure or other digital tools if you have them.

2 - Draw your room in the city, in plan, section and elevation. The drawings have to fi t in an A2 (42.0 x 59.4 cm) or 18 x 24 inch paper size. They may be at various scales, for example: 1:100, 1:200, 1:250, 1:500. Once you have your drawings, you can decide how to put these together to tell your story about the room.

Draw the shape of the room in plan view and below do the same in a section view:• The room limits – Draw its visible surfaces in plan and section. Sit in one spot and draw the building elevations all at the same scale as your plan and section in one A2 format size or 18 X 24 inch paper. • The points of arrival to the room – draw the points of arrival beyond the limits of the room, noticing if we arrive from a street, under an arcade, through a gate, etc.• Streets, parking and sidewalks - draw the immediate urban context of the room.• Dimensions of the room - Draw/write important dimensions: the length and the width, etc.• Materiality / details – use your hand as a scale to photograph particular materials that you can fi nd on site. Include vignettes of those details at the bottom or side of the drawing you have been working on. Make written notes in each layer if you need.

These will be the key drawings through which you communicate your analysis.

Learn the size of your hand and use it to measure details.

Use your pencil to measure heights you know (like the height of a person) and extrapolate to fi gure out bigger heights and widths.

The length of your step. The size of the material pavement.

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3. Analyze the Room

Communicate the architectural quality of the room in all its richness, capturing and conveying the aspects which you fi nd essential to its character. Think of the drawings as a collage that is progressively layered. Use the drawings from page 2 as a base and layer your analytical studies over them. What do you emphasize in plan, in section, and in elevation? Which drawings are better for which parts of your analysis? Does changing the scale or zooming in on a detail allow you to bring a new focus? Overlaying different layers of tracing paper, inform us about:

Overlay one – composition/ geometry:Include another layer of tracing paper over the base drawing, where you will study:• The geometry/proportions of the room – in plan: the base form of the room: a rectangle, circle, etc., rhythms / voids, etc. In Section: enclose / open.

• The compositional relationships of the room - draw possible grids / geometries of the room’s plan, section and elevations. • The room hierarchy – acknowledge particular building(s) that stands up in your room in the city. Such as: a church, a tower or particular features (monument, a fountain, a tree, a bench, etc.).

Overlay two – procession: walk through, meander:Include another layer of tracing paper over the base drawing, where you will study:• Viewpoints that are important to acknowledge. use a V shape (angle view) to orient us towards that point (include on the side a vignette with a photo/ drawing of that viewpoint).

• Circulations - using dash lines tell us the most prominent pedestrian paths in your room. • The indoors and outdoors relation - use a thicker pen to reinforce the limits of your room only where you have walls touching the fl oor. In other words, glass windows, surfaces that go down and touch the fl oor and doors will not be colored. Entrances and thresholds, views into and out from the room windows.

Theo van Doesburg - Studies for Composition (The Cow), 1917, pencil on paper,

The oval plan by Bernini, according to KITAO (1974) (left) and the Piazza San Pietro on Nolli’s map of Rome, 1748 (right).

View St. Peter Square, Roma, Italy (UNESCO WHS)

Overlay three – physical characteristicsInclude another layer of tracing paper over the base drawing, where you will study:• The sun, wind, water - draw in yellow the shadow cast in the time in the morning, in red the shadows cast in the afternoon. Tell us where north is. Use curving arrows to let us know the prominent direction of wind. In the section portion of your base drawing, draw a curve with a symbol of a sun acknowledging the rotation of the sun throughout the day. Show with curved arrows where from is the wind blowing.

• Topography and retaining walls - use lines to let us know the inclination of the ground in your room. If your room is fl at do not use this parameter.

• Plants and green spaces – With a colored pencil hatch where the green areas are in plan. Draw a thick dot where there is a tree truck; make a circle and let us know how big the tree is on top. Draw them also in the section.

Overlay four – social characteristicsInclude another layer of tracing paper over the base drawing, where you will study:• Gathering point(s) – use a colored circle to tell us which is your favorite location in your room where you gather with your friends / family. In the section part of the base drawing draw a silhouette of you and your friends/family gathering. Acknowledge why you like that spot. Is it the programme (good coffee)? is it a more private spot? Is it the sun? etc.

• Furniture - draw the public furniture.• The programme of the room - Write a note as a title telling us what the space is used for.

Overlay fi ve – particular characteristics• Draw any particular characteristic of your room that was not described above.

When you overlap all your layers, your room analysis is complete.

Site analysis is one of the most important steps of architectural design process.It ensures that an architecture proposal makes the best use of the resources on the site as possible. It should also allow to anticipate any potential issues which may cause problems or opportunities for the project. With a good site analysis any of your colleagues can make a design proposal for “your” Room in the City.

Presentation requirementsa) PDF image of the overlay drawing. b) Photos of My Room in the City, c) Satellite images or maps of My Room in the City. d) Upload images of your notebooke) Prepare a fi ve-minute oral presentation to your class group. (5 min presentation + 10min critics/ comments) .

After the presentation upload your work in one PDF fi le to Conseptboard / Brightspace.18Use of the Notebook to record information on site.

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Composition image with plan analyses, section and materials photos vignettes

Italo Calvino, Invisible Cities

Zobeida. Image © Karina Puente Frantzen

As you study “your” room in the city, start thinking about a room you would design that responds in some way to the study room. Would this special space be in the existing room or public square? Alternatively, you might consider designing a new room that would relate in some way to the study room — stretching its character into the street or into a garden. It could even be a little distance away. It could be on the ground, attached to a wall, overhanging a roof. What would its purpose be? What activities would take place here and how would people see it, enter it, inhabit it?

On week 3, October 2, there will be a room analysis presentation to your design group. If you wish you can also decide to use one of your colleague’ room in the city. If that is your choice, please involve that colleague thus they will be “your eyes” in the room. Listen and learn from your colleague’s acknowledge and they dwelling experience regarding that room in the city.

a) Design TranslationDemonstrate a range (minimum of 3) of design opportunities by investigating potential patterns of use, spatial geometries, environmental context, and material possibilities, all in relation to location, to enhance human comfort. Translate initial design ideas into a coherent Architectural Concept.

b) Design ProposalDemonstrate Architectural Design at the scale of the room. Design an architectural place through the composition of material (fl oor, wall, roof), thresholds and light, and defi ned volumetric space. Your space can have a seasonal use (enclosure is not mandatory).

c) Design CommunicationDemonstrate communication techniques that effectively represent your design analysis, design ideas, concepts, and architectural design. Make effective use of a) Digital Photography b) Basic Mapping c) Sketching / Diagrams d) Orthogonal drawings - plan, section and elevations e) small conceptual models.

This assignment is shared between two of your B1 courses. It relies partly on the knowledge and abilities that you bring to the BEDS program, and partly on architectural topics introduced during the fi rst weeks of the term. Assisted by your design tutor and course instructors Emanuel Jannasch and Leon Katsepontes, you will carry out an integrated study of your room in the city. 20

Part 2: To design of a Room 1. Design a Room in the Room in the City

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Images showing design media presentation boardsSource: internet

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Presentation requirementsA design is never complete and every presentation is a work in progress. We will be looking for hand-drawings in pencil and drawn to scale that are worked-over and revised, built up over time. Draw in people to study views and sightlines. Draw in sunlight and wind, to show how your design modulates these. Also, quick little study models — if done carefully to scale — are wonderful tools to study and develop your design ideas. Give a title to your design work.

The core of your presentation should have the following elements:• Site and location plan, showing your design proposal in its urban setting and in relation to the study site• Orthographic drawings, showing the room in plan, section & elevation — 1:50• Conceptual model • One sketch/ collage showing a relevant point of your proposal

Due dates and reviewsSubmit your work Thursday, October 8, 10:00 pm AST.Final review Friday, October 9.

Resources / InputsAn architectural proposal is only as effective as the inputs used to create it. Well established design inputs can make the rest of your design process development easier as a result. Once you’ve defi ned your design inputs, you are ready to engage in core project development. The courses in the B1 Term provide you with some Design Resources and Inputs that will help you to develop your architectural designs.It is important that you also fi nd your own design inputs. Normally they are infl uenced by your own interests. Bring them in to our classes and record them in your portfolio. We will help you to see design potentialities in them.

EvaluationProject 1 represents 20% of the course mark. Applicable rubrics: Project 1: My Room in the City

Mid-term process portfolio review. For this presentation, it expected that you look into your conceptboard pages and:• Make notes/comments on the key moments of your Design development.• Acknowledge in your design which are the moments that more thorough attention could benefi t your fi nal design. • The Process Portfolio needs to be organized chronologically.At the en of the term the portfolio will receive a course mark, using REFLECTION AND COLLABORATION RUBRICS.

Sketches for museum of geological history of santorini greecein, fabriciomora.tumblr.com

An example of a B1 Student proposal, for the Room in the city assignment. Katie Wimmer, Halifax Public Gardens, 2017

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We study works of architecture as examples of design intentions made real by specifi c formal strategies. The architectural lessons embedded in these strategies, like the physical principles discovered in scientifi c inquiry, are as valid today as when they were fi rst developed. This is why a plan composition used in ancient Rome may fi nd its way into the design of a contemporary public institution in Chicago; and the way a wall meets a roof in a Berlin art gallery re-appears in a house in the Australian outback. These similarities are evidence that architecture’s long history is always with us — as a resource and a teacher. We study works of architecture to tap into this history, learn from it, and contribute to it. Most of these works of architecture we are not able to visit them but it doesn’t mean we cannot study/analyze them. Using books, journals, and the web we can research and analyze them.

In this Case Study exercise, noteworthy buildings are studied closely to understand some basic architectural principles, using Indirect Observation Tool/Skill. Through research you are going to be able to analyze / communicate the importance/relevance of the building and its location to the architecture discipline:

• Learning about its time period relevance,• Understand the relevance of its geographic position • How it is situated in its context• It social and cultural importance; • How it is organized — its geometry & formal composition• The experience of arriving, being in the building & moving through it• What it is made of, how it is built & how it holds up• How it mediates the light & climate

Students work in groups of 4-5 to complete their case study and present their fi ndings to the class.

Architectural documentation and analysis

a) Assemble a portfolio of your building, using books, journals, and the web (compare sources to determine which are authoritative). b) Then, to thoroughly understand the pavilion, you are asked to complete two kinds of architectural documentation: a set of orthographic drawings (plan, sections and elevations) and conceptual/physical models (one per student).c) Working from your documentation, your group will analyze the architectural strategies employed in the pavilion, including: spatial relation of building to context; organizational geometry & formal composition of the building; choreography of movement, views, points of activity and repose; building elements: fl oor, wall, roof, or other; culture of construction — materials, methods, technologies; symbolism and meaning. d) Make the orthographic drawings the base of your analysis, and develop them as fully as possible to communicate your analytical fi ndings. The important thing is that each drawing is focused and purposeful.

Project 2 Case Study Analysis and Counterpoint Pavilion

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Project 2 Part 1 - Case study Analysis using Indirect Observation Skills

Indirect Observation Tool/Skill: Analysis of a case study building and location which cannot be directly viewed. Through research the student as to be able to: analyze / communicate the importance/relevance of the building and its location to the architecture discipline: learning about its time period relevance; understand the relevance of its geographic position; how it is situated in its context; it social and cultural importance; how it is organized — its geometry & formal composition; the experience of arriving, being in the building & moving through it; what it is made of, how it is built & how it holds up; how it mediates the light & climate.

Holocaust Memorial, Judenplatz, Vienna, 2000. Rachel Whiteread.

A large world in a small world.A house like a city. A city like a house.

Aldo van Eyck

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RADIAL PLAN AXIAL PLAN FREE PLAN

ParthenonAthens, GreeceIctinos and Callicrates under Pericles432 BCE

Naiku Shrine “Kotai Jingū”Uji-tachi, Japanunder Emperor Temmu680

Teatro Ofi cinaSão Paulo, BrasilLina Bo Bardi1989

Forge, Avon Old Farms School, CT USATheodate Pope Riddle1929

Thorncrown ChapelEureka Springs, AR USAE. Fay Jones1980

German PavilionBarcelona, SpainLudwig Mies van der Rohe and Lilly Reich1928

Nordic PavilionVenice, ItalySverre Fehn1962

Brion CemeterySan Vito d’Altivole, ItalyCarlo Scarpa1969-78

Thermal BathsVals, SwitzerlandPeter Zumthor1996

Serpentine PavilionKensington Gardens,LondonToyo Ito and Cecil Balmond2002

Beta Giyorgis ChurchLalibela, Ethiopiaunder King Lalibela12th c. BCE

Tempietto in S Pietro del MontorioRome, Italy Donato Bramante 1502

Round Stone BarnHancock, MA USAShaker community1826

Notre Dame du HautRonchamp, FranceLe Corbusier1955

Los Manatiales RestaurantXochimilco, MexicoFelix Candela1958

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Presentation requirements

• VectorWorks geometry that will be a base for the orthographic drawings.• Orthographic drawings (plan, section and elevation). Divided among the students in the group.• Interior and Exterior Photos; diagrams. • Small concept / analytic model maximum 8’ x 10’. Maximum one per student. The models you are developing for Representation

and Technology courses related to the Case Study should be presented.• Your architectural analyses of the case study pavilion, with explanatory text as needed. • Your analysis of the pavilion’s structure, construction and handling of light.

Also, each group is asked to prepare a fi ve-minute oral presentation of their pavilion using Conceptboard, to the whole class.

After the presentation upload the group work to Brightspace. (15 min presentation + 10min critics)

M2/M5 Mentorship - for this exercise you will have support from MArch students. A list with their names and each case study will be provided during week 6.

Due date and reviewSubmit your work Thursday, November 5, 10:00 pm AST.

Friday, November 6, 2:00 pm. ATL

Evaluation:The group work will be evaluated equally among the members of the group. Project 2: Part 1 : Case Study Pavilion (study of an exemplary pavilion) represents 20% of the course mark.

Applicable rubrics: Project 2 Case Study Analysis and Counterpoint Pavilion. Part 1: Case Study Pavilion (study of an exemplary pavilion) (Group work) | 20%

Drawing and model of Year One fi nal project, Bartlett School of Architecture, University College London. Nicola Czyz. 26

Tempietto Case Study: examples of B1 Students work.

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In the fi nal project of the term, you design a pavilion. The essential characteristic of a pavilion is architectural clarity — its simplicity and precision of expression. An architectural idea often starts with a response to the site, but it may also be a response to program, building materials, or abstract ideas. In this assignment, your design must engage its surroundings and respond to your case study building. Since your design will be in proximity to a classic work of architecture, it’s important that your design intentions are clear.

Site: Situate your design in relation to the case study pavilion and consider the site design as part of your project.

Program: Determine the purpose (program) of your pavilion, in relation to the case study building. It must include at least 164 sf to 262 sf (50 m2 to 80 m2) of enclosed space, with defi ned:a) social interaction (inhabitation)b) entry point(s), c) opening(s) for light to enter the room, d) consider what facilities are appropriate to support the program of your pavilion and for human comfort include eg:water closet, food preparation, staff, storage, etc.

Construction: A clear structural strategy and careful consideration of building materials are fundamental components of a well-designed pavilion.

Three scales of designArchitectural design considers multiple scales of investigation: the city, the building, and the body. A good architectural idea is one that has implications at all three scales.

City scale: relationship to local context & urban context. The parti.Building scale: relationships between fl oor, wall, roof. Composition of plan & section; structure & enclosure.Body scale: materials & assembly; sensory experience; light, sound, air.

Teatro del Mondo, Venice, 1979. Aldo Rossi. This fl oating pavilion, created for the First Biennale in Architecture, has been pulled up to the Punta della Dogana in Venice.

Project 2 Part 2 - Pavilion Counterpoint

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Finalist designs for the Fallingwater Cottages Competition, 2010

(Clockwise from top left)1-2 Wendell Burnette, presentation boards3-4 Patkau Architects (winning entry), exterior view and section5 Saucier and Perotte, birds-eye view6-8 Marlon Blackwell, site perspective, section, model9 MacKay Lyons Sweetapple Architects, model

2 3

4

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Presentation requirementsThe presentation should show the following aspects of design:

• The pavilion in its site and in relation to the case study building 1:500, 1:200• The pavilion in plan, section & elevation — 1:50• A signifi cant portion of your pavilion in model, showing materials & light — scale to be determined in discussion with your instructor

• Representations of your design process, from parti through development• Incorporate tech work: section describing how pavilion is working with water, a structural scheme, modelled or drawn, a sun-path diagram showing response to solar heat (whether as a positive or negative) and indication of an approach to daylight - recognizing the value of skylight

• Incorporate rep work: representation work tonal drawings and an understanding of light• A written statement of how this pavilion is a counterpoint to the case study pavilion (max. 150 words and developed with History Tutors) including a title and your professional practice manifesto.

The physical format of your presentation is an A2 size or 18”X 24” inch paper. Maximum number of 8 pages.

Note: that scales are guidelines, some pavilions may not fi t on 18”X 24” inch paper, so its ok if they are 1:100

Due date and reviewSubmission of work: Sunday, December 13, in Brightspace.

Review Monday, December 14, 11:30 am - 6:00 pm AST. It will continue into Tuesday, December 15. Each student will have 15 min for presentation and discussion. (5+10min)

EvaluationProject 2 Case Study Analysis and Counterpoint Pavilion. Part 2: Pavilion Counterpoint (design of a pavilion that complements the case study) | 35%

End term process portfolio review. For this presentation, it expected that you look into your conceptboard pages and: • make notes/comments on the key moments of your Design development. • Acknowledge in your design which are the moments that more thorough attention could benefi t your fi nal design.• The Process Portfolio needs to be organized chronologically.

The end-of-term process portfolio represents 15% of the course mark, using the rubric REFLECTION AND COLLABORATION RUBRICS 30

Conceptual models. @ pinterest

Ronchamp Monastery and gatehouse, France. 2011.Renzo Piano Building Workshop.

This page shows Piano’s freehand design studies along with drawings and models from the Building Workshop.

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Appendix 1

ASSIGNMENTS:DESIGN CRITERIA GUIDELINES DESIGN PROCESS DESCRIPTION

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Site study of the kasbah in Ghardaia, Algeria, through an analysis of viewplanes and visual networks. André Ravereau, 1961.

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B1 Studio Fall 2020- Dalhousie University Project 1 - Part 1: My Room in the City (study of an Urban Room)

• Identifi cation of the criteria stated in the Outline for selection of room in the city. • Make a series of quick sketches/drawings on site• Measure your walking pace and use it to fi gure out the size of the room. • Measure your walking pace and use it to fi gure out the size of the room.• Take pictures of the room, its context and material details, using the skills taught in rep. by Ken Kam.• Observe and that notes.

Starting from Direct Observation:

• Good identifi cation of the criteria stated in the Outline for

selection of My Room in the City.

• Drawings generally convey the site’s features and charac-

teristics, and its constraints and opportunities are understood

using Direct Observation Skills.

RESEARCH and ANALYSIS GUIDELINES SITE SELECTION AND CRITERIA :

• Draw your room in the city, in plan, section and elevation. That base drawing, have to fi t in an A2 (42.0 x 59.4 cm) or 18 x 24 inch paper size. They may be at various scales, for example: 1:100, 1:200, 1:250, 1:500. • Once you have your drawings, you can decide how to put these together to tell your story about the room.

DRAW MY ROOM IN THE CITY using DIRECT OBSERVATION

Identify key parameters for site analysis including; a)physical

context b) cultural context, c) human activities, and d) environ-

mental factors:

• A general understanding of dwelling, principal activities, and

symbolic meaning of the urban room.

• A general understanding of the urban room’s formal and spa-

tial composition and materiality, in relation to its purpose.

• A general understanding of the urban room’s siting and

orientation in response to site, climate and environmental

conditions.

• A general understanding of how the urban room’s in-

ternal organization creates a pleasing inhabited ‘envi-

ronment’ with daylight, shade, comfort and ventilation.

• A general understanding of how the urban room’s internal

organization creates a pleasing inhabited ‘environment’ with

daylight, shade, comfort and ventilation.

Analyze and prioritize all parameters to determine site selec-

tion.

ANALYSIS GUIDELINESOverlay one – composition/ geometry:Include another layer of tracing paper over the base drawing, where you will analyze:• The geometry/proportions of the room – in plan: the base form of the room: a rectangle, circle, etc., rhythms / voids, etc. In Section: enclose / open. • The compositional relationships of the room - draw possible grids / geometries of the room’s plan, section and elevations. • The room hierarchy – acknowledge particular building(s) that stands up in your room in the city. Such as: a church, a tower or particular features (monument, a fountain, a tree, a bench, etc.). Overlay two – procession: walk through, meander:Include another layer of tracing paper over the base drawing, where you will analyze:• Viewpoints that are important to acknowledge. Use a V shape (angle view) to orient us towards that point (include on the side a vignette with a photo/ drawing of that viewpoint).• Circulations - using dash lines tell us the most prominent pedestrian paths in your room. • The indoors and outdoors relation - use a thicker pen to reinforce the limits of your room only where you have walls touch-ing the fl oor. In other words, glass windows, surfaces that go down and touch the fl oor and doors will not be colored.• Entrances and thresholds, Views into and out from the room windows.Overlay three – physical contextInclude another layer of tracing paper over the base drawing, where you will analyze:• The sun, wind, water - draw in yellow the shadow cast in the time in the morning, in red the shadows cast in the afternoon. Tell us where north is. Use curving arrows to let us know the prominent direction of wind. In the section portion of your base drawing, draw a curve with a symbol of a sun acknowledging the rotation of the sun throughout the day. Show with curved arrows where from is the wind blowing. • Topography and retaining walls - use topographic lines to let us know the inclination of the ground in your room. If your room is fl at do not use this parameter. • Plants and green spaces – With a colored pencil hatch where the green areas are in plan. Draw a thick dot where there is a tree truck; make a circle and let us know how big the tree is on top. Draw them also in the section. Overlay four – social characteristicsInclude another layer of tracing paper over the base drawing, where you will analyze:• Gathering point(s) – use a colored circle to tell us which is your favorite location in your room where you gather with your friends / family. In the section part of the base drawing draw a silhouette of you and your friends/family gathering. Acknowl-edge why you like that spot. Is it the programme (good coffee)? is it a more private spot? Is it the sun? etc. • Draw the public furniture.• Activities of the room - Write a note as a title telling us about the use of the space. Overlay fi ve – particular characteristics Overlay fi ve – particular characteristics• Draw any particular characteristic of your room that was not described above.

ANALYSIS DESCRIPTION

a) Take a picture of the sequence of the overlays and upload as a PDF (one image per overlay, and the base layer). Make sure the images are at the same scale and they overlap each other. b) Include photos from My Room in the City, Use Goggle street views and satellite images. Organize them showing drawing scale. c) Upload images of your notebook that are relevant for the site analyses explanation d) Upload your work in one PDF fi le to Conseptboard / Brightspace. e) Rehearsal your presentation to your design group (5 min max.)

1- Demonstrate communication techniques that effectively represent your design analyses:• Uses Sketching skills to communicate the design project.• Clear use of the overlay process as a communication tool.• Demonstrate good use of digital photography and diagrams to convey the proposal.• Creative use of alternative mediums of communication: col-lages, perspective sketches, conceptual/analytic models, etc.

Research fi ndings presentation to Design Group Research fi ndings presentation to Design Group :

week 1 - 7,5h

week 1 -

7,5hw

eek 2 +1/2 of week 3 - 15+5 = 20 hours

1/3 of week 3 = 5 hours

DESIGN CRITERIA GUIDELINES DESIGN PROCESS DESCRIPTION

TIMELIN

E

Project 1 - Part 2: My Room in the City (Design a Room in the Room)

• Imagine a minimum of 3 of design opportunities for your room in the room proposal, by investigating in sketch considering the a) material, b) arrangement, c) human experience of the building. • Critically let us know which is the one that you would like to pursue into design, based on the relevant fi ndings and conclu-sions from your analyses. • Translate initial design ideas into a coherent Design Concept for your room, developing your design parameters: patterns of use, spatial geometries, environmental context, and material possibilities, all in relation to location, to enhance human comfort.

MY ROOM in the CITY: DESIGN TRANSLATION

• Demonstrate Architectural Design at the scale of the room. let us know about: a) location + meaning (where is it location and what is the Room in the Room importance in relation to My Room in the city. b) spatial geometries (in relation to human body) and what the room it is going to be used for, c) potential patterns of use, in relation to its physical location, environmental context, (physical and cultural characteristics). d) material selection possibilities to enhance human comfort.

• Design an architectural place through the composition of: a) material (fl oor, wall, roof), b) thresholds and light. Can be a seasonal use (enclosure is not mandatory) c) volumetric space. (10 people maximum). material, arrangement , human experience of the space

DESIGN PROPOSAL

A design is never complete and every presentation is a work in progress. We will be looking for hand-drawings in pencil and drawn to scale that are worked-over and revised, built up over time. • Make sketches, collages, diagrams that help you to develop your idea for the design proposal • Draw in people to study views and sightlines • Draw in sunlight and wind, to show how your design modulates these. • Make a quick little study model - if done carefully to scale -are wonderful tools to study and develop your design ideas • Digital Photography - Show where your design proposal of the Room in the Room is using a sketch on top of a picture, collages, etc. • Basic Mapping - site location in the room • Orthogonal drawings: Plan, Section and elevation. • Give a title to your design work.

DESIGN COMMUNICATION

wee

k 4

= 15

hou

rsw

eek

5 =

15 h

ours

w

eek

5 =

15 h

ours

B1 Studio Fall 2020- Dalhousie University

• Overlay Research is clearly presented and

summarized with relevant fi ndings and con-

clusions that will inform future design work.

• Overlay identifi es design parameters which are informed by

two or more research fi ndings.

DESIGN TRANSLATION GUIDELINES

• The design supports human activities through the workable

organization of the size, shape, and location of the room.

• Understand Human scale in space, accommodating 8-10

people.

• Public areas are designed with attention to the functional

needs of individuals, social events.

• The room appropriately acknowledges the civic presence

and symbolic expression of the place, where relevant.

• Siting, orientation and mass of the room make good use of

its context, to protect from the elements and provide a pleas-

ing interior, daylight, shade.

A general understanding of how the room stands up (its struc-

ture strategy and elements), and the character of materiality

as a design expression.

• Some awareness of local history and some familiarity of

precedent buildings (with a similar form, program, or site).

DESIGN a ROOM in the ROOM GUIDELINES

Demonstrate communication techniques that effectively rep-resent your design ideas, concepts, and architectural design. Make effective use of: • Digital Photography • Basic Mapping • Sketching /Diagrams • Orthogonal drawings: Plan, Section and elevation. • Conceptual model • Make effective use of what you are learning in the represen-tation course and workshops.

ANALYSES and DESIGN COMMUNICATION GUIDELINES

34

DESIGN PROCESS DESCRIPTION DESIGN CRITERIA GUIDELINES

TIM

ELIN

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35

B1 Studio Fall 2020- Dalhousie University Process portfolio (midterm)

The process portfolio is a tool that will help you to fi nd paths and the method to develop your project. It will help you:- To understand the relations between the sketch and the design process.- To develop the capacity of observation, the skill and knowl-edge of the act of design process and the sensitivity to plastic and aesthetic values;- To create conditions to face the act of project design with agility, spontaneity and awareness;- To stimulate in the project the presence of the non-systemat-ic, symbolic and poetic components of design.- To promote satisfaction and knowledge of the need and pleasure of representation; the expression of number and measure; the visual memory of outer and inner reality.- To recognize that drawing is the graphic expression of an intentionality that should seek its matrix in the external reality and in the heritage of Design and Architecture;- To understand that one can learn to draw by drawing and drawing. The intentionality of the drawing is also in the matrix that the student is the author.- To understand the importance to make mistakes. To acknowl-edge that in order to achieve a solution the student should test it over and over and the sketch can be a fast tool. In your courses, you will encounter a wide range of references that you may fi nd useful or inspiring as you develop your designs. These might be photographs, site maps, projects by other architects, poetry, written or photographic descriptions that evoke a sense of place or an effect you would like your design to achieve. As you work on your design, you will make many sketches and architectural drawings of your project as it evolves. These might include impressions of a building from a distance, how it meets the ground or landscape, the play of light on surfaces, or how one material meets another. You might study the structural system that supports a building, or how water is led away from a building. These studies should fi nd their way into your process portfolio. You may also paste pages from your sketchbook directly into

the process portfolio!

DESIGN PROCESS PORTFOLIO GUIDELINES DESIGN PROCESS PORTFOLIOw

ork in progress

The sketchbook

is a small and portable way to capture your thoughts, observations, and refl ections about the built environment around you.

Make it your permanent companion.

• Write down and draw what you see in lectures.

• Use it to record your thoughts and observations during site visits.

• Use it to explore design ideas in a sketch format.

• Record the results of your desk crits and reviews.

• Take it home to put down your design ideas.

• Take notes on what you want to work on tomorrow.

The process portfolio

is a record of your development as a student of architecture. It will allow the instructors to help you to develop your design

process by reinforcing your strengths and acknowledging your witnesses in order for you to improve your design method.

Make it a weekly habit to update your process portfolio.

Putting your work into the portfolio is an opportunity to refl ect on your design process.

• Put in sketches and drawings of your project as it evolves.

• Put in images that inspire your design work.

• Tell us how do you develop design (ideas, different design possibilities)

• Paste pages from your sketchbook directly into the process portfolio.

• Put in photos of your models, and draw over them.

• Write notes, makes links between items, draw directly on the portfolio pages to develop your design ideas. If you wish you

can sketch directly on your Process Portfolio 18”X 24” format pages and upload them to Conceptboard (web-based) loca-

tion.

The format used at Dalhousie School of Architecture is using this year is a digital format on Conceptboard (web-based)

Process Portfolio. The physical format is an A2 size or 18”X 24” inch paper. This large format encourages you to assemble

a wide range of work on a single page, helping you to make connections and linkages between different drawings and im-

ages, to edit them, and show how architectural ideas evolve. When you meet with your tutor each week, use the process

portfolios to show the tutor what you have been working on.

The Process Portfolio needs to be organized chronologically.

DESIGN CRITERIA GUIDELINES DESIGN PROCESS PORTFOLIO DESCRIPTION

TIMELIN

E

Project 2 Part 1: Case Study Pavilion

• Assemble a research portfolio of your building, using books, journals, and the web (compare sources with the ones M2/M5 prepared to your group to determine which are authoritative). Mount all preliminary research work on your Teams site. Note: Primary Source information is an original object or document concerning the subject matter being studied. For archi-tecture a primary source could be many different things such as architectural drawings, models, photographs, and even the building itself. • Distribute / Organize the information between the group member and prepare your fi rst conversation with M2/M5 students on Week 6 Friday October 23rd for an hour regarding your case Study.• To thoroughly understand the pavilion, defi ne in VectorWorks the pavilion’s geometry that will be a base for the orthograph-ic drawings: plan, sections and elevations. This task should be divide within the group.• Mount all fi nal research work on Conceptboard.

RESEARCH SKILL on INDIRECT OBSERVATION / DOCUMENTATION DESCRIPTION

• Working from your documentation, your group will analyze the architectural strategies employed in the pavilion, including: a) historical and cultural relevance of the Case Studyb) spatial relation of building to context; c) Activities and use or rituals.d) organizational geometry & formal composition of the building; e) choreography of movement, views, points of activity and repose; f) building elements: fl oor, wall, roof, or other; g) culture of construction — materials, methods, technologies; symbolism and meaning.

• Prepare your second conversation with M2/M5 students on Week 7 Friday, October 30th for an hour. a) Show the material that the group already assemble, including a series of quick sketches/drawings/diagrams. b) Get feedback on the information the group is missing and look for the advice of where can that information be found c) distribute the work within the group and defi ne strategies for a coherent presentation meaning.

• Prepare your third conversation with M2/M5 students only if it is necessary

ANALYSIS of the CASE STUDY

• In group discuss and make VectorWorks geometry that will be a base for the orthographic drawings. • Organize and distribute within the group Orthographic drawings (plan, section and elevation).• Make the orthographic drawings the base of your analyses, and develop them as fully as possible to communicate your analytical fi ndings. Prepare with a group a scrip contain the relevant topics on the case study pavilion. • Discuss with the group the relevance of each drawing in the communication presentation. Under-stand each drawing focused and purposeful. Please remember a drawing can tell more than one tail. • tell us about the Interior and Exterior space through Photos; diagrams. • Small concept / analytic model maximum 8’ x 10’. Maximum one per student. The models you are developing for Repre-sentation and Technology courses related to the Case Study should be presented.• Your architectural analyses of the case study pavilion, with explanatory text as needed. • Your analysis of the pavilion’s structure, construction and handling of light. • Prepare your presentation to the class on Conceptboard • Rehearsal your Group presentation (15 min presentation + 10 min max critics)

RESEARCH COMMUNICATION

wee

k 6

- 15

hour

sw

eek

7 -

20 h

ours

w

eek

8 =

10 h

ours


• Use of indirect observation and reliable sources to justify your analysis.• Always reference key material NOTE: Indirect Observation Tool/Skill: Analysis of a case study building and location which cannot be directly viewed. Through research the student as to be able to: analyze/com-municate the importance/relevance of the building and its location to the architecture discipline: learning about its time period relevance, it social and cultural importance; Acknowl-edge the human body in place: “grain”, patterns, regulatory composition lines; Knowledge of the Solar Paths and Position relative to a geographic location: Altitude, latitude and longi-tude, solar chart. al.

RESEARCH SKILL on INDIRECT OBSERVATION / DOCUMENTATION

• The human geography - the site’s features, circulation, and social characteristics are accurately represented, its constraints and opportunities are fully understood. • A comprehensive understanding of the building’s program, layered uses, and its purpose, including symbolism and cultural signifi cance.• A comprehensive understanding of the building’s formal and spatial composition and materiality.• An understanding of the experience and haptic qualities the design brings to the life taking place in the building. • A thorough understanding of how the building’s siting and orientation optimizes its performance in relevant site, climate and sun conditions. • An understanding of how the building’s internal organization and window placement strategically employs views in and out, daylight, shade, warmth and ventilation to create a pleasing interior ‘environment’.• An understanding of the building’s structural strategy and components, and its materiality central to its design intent. Exploration of its construction challenges and innovations.

ANALYSIS of the CASE STUDY GUIDELINES

Basic representational skills: • Uses four of the architectural conventions of plan, section, elevation, axonometric and/or perspective to develop the design. Plans, sections and elevations generally correspond.• Exploration of appropriate representational techniques (e.g. line drawing, tonal/ color rendering, and selection of media) to communicate the design project.• Demonstrates some craft in model construction and/or com-puter modeling. Strategic use of representation: • The design project is generally understandable from the drawings / models, which use framing, editing, and focus to direct attention to the signifi cant areas.• Choice of drawings, composition on the wall and the sheet, and emphasis are largely appropriate in each presentation. Design presentation in reviews: • Visual presentation communicates the research fi ndings, design parameters / goals, or design work clearly and in a logical sequence.• Verbal presentation is clear and supplements what is in the drawings.

RESEARCH COMMUNICATION GUIDELINES

36

TIM

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DESIGN CRITERIA GUIDELINES DESIGN PROCESS DESCRIPTION

37

B1 Studio Fall 2020- Dalhousie University Project 2 - Part 2: Pavilion Counterpoint

• Demonstrate a range (minimum of 3) of design opportunities by investigating in sketch form• Translate initial design ideas into a coherent Design Concept for your pavilion, having into ac-count:a) City scale: relationship to local context & urban context. The parti.b) Building scale: relationships between fl oor, wall, roof. Composition of plan & section; structure & enclosure.c) Body scale: materials & assembly; sensory experience; light, sound, air.

• Research is particularly insightful or sheds new light on the research subject and is succinctly summarized in annotated sketches and diagrams relevant to future design work. • Clearly states design parameters which are informed by all the relevant research fi nd-ings (e.g. contextual, performance, functional, formal or material constraints)

TRANSLATION of RESEARCH into the DESIGN WORK GUIDELINES TRANSLATION of RESEARCH into the DESIGN WORK

Demonstrate Architectural Design skills at the scale of the Pavilion.Site and Context : • Location is well-integrated into neighborhood context• Good relationship to urban context or landscape• Masses the building for compatibility with neighbors• Building’s siting and orientation in response to site, climate and sun conditions. Program and habitation: • Supports human activities through an organization of the size, shape, and location of rooms in a small building. Make good use of spaces, such as fl exibility. • Appropriately acknowledges the civic presence and symbolic expression of the build-ing, where relevant.• Public areas are designed with attention to scale: from the needs of individuals, to social events and urban orders.• Provide a pleasing interior ‘environment’, including consideration of views in and out, daylight, shade, warmth and ventilation. Aesthetics and cultural issues: • Considers the composition of formal and spatial orders and use of materials, appro-priate to the context and the life taking place in the building.• Addresses basic conditions of human comfort. Structure, construction and materials: • Building has a clear idea about structure, with structural elements expressed in plan, section, and volumetrically.• Building materials are used appropriately to convey the building design.• Construction details demonstrate basic understanding of construction process and building performance, related to the building design.

COUNTERPOINT PAVILION DESIGN PROPOSAL GUIDELINES

Design an architectural place defi ning the relevant through the composition of:• Material (fl oor, wall, roof),• Site: Situate your design in relation to the case study pavilion and consider the site design as part of your project.• Program: Determine the purpose (program) of your pavilion, in relation to the case study building. It must include at least 164 sf to 262 sf (50 m2 to 80 m2) of enclosed space, with defi ned:

a) social interaction (inhabitation)b) entry point(s), c) opening(s) for light to enter the room, d) consider what facilities are appropriate to support the program of your pavilion and for human comfort include eg: water closet, food preparation, staff, storage, etc.

• Construction: A clear structural strategy and careful consideration of building materials are funda-mental components of a well-designed pavilion.

COUNTERPOINT PAVILION DESIGN PROPOSAL

Demonstrate communication techniques that effectively represent your design ideas, concepts, and architectural design through: • Sketching • Orthogonal drawings: Plan, Section and elevation. • Conceptual models • Written statement of how this pavilion is a counterpoint to the case study pavilion (max. 150 words) including a title and the text of your professional practice manifesto. Make effective use of three scales of representation: • City scale• Building scale• Body scale Upload images of your notebook that are relevant for the site analyses explanation Upload your work in one PDF fi le to Conceptboard / Brightspace. Rehearsal your presentation. Each student will have 15 min for presentation and discussion. (5+10min)

Basic representational skills: • Uses four of the architectural conventions of plan, section, elevation, axonometric and/or perspective to develop the design. Plans, sections and elevations will generally correspond.• Exploration of appropriate representational techniques (e.g. line drawing, tonal/color rendering, and selection of media) to communicate the design project.• Demonstrates some craft in model construction and/or computer modeling.• Develops the design at the three scales of site, building, and detail. Strategic use of representations: • Framing, editing, and focus in developing and communicating the design concept through drawings and models• Composition, editing, and emphasis in a full presentationDesign presentation in reviews: • Visual presentation communicates the research fi ndings, design param-eters / goals, or design work clearly, compellingly and succinctly. It is at-tractive, easy to read from a distance, and equally interesting up close. • Verbal presentation is clear and concise in the time given, and adds value to what the audience can already understand from drawings.

DESIGN COMMUNICATION GUIDELINES COUNTERPOINT PAVILION DESIGN

week 1 - 7,5h

week 2 +1/2 of w

eek 3 - 15+5 = 20 hours1/3 of w

eek 3 = 5 hoursDESIGN PROCESS DESCRIPTIONDESIGN CRITERIA GUIDELINES

TIMELIN

E

wor

k in

pro

gres

s

Process portfolio (end of term)

The sketchbook

is a small and portable way to capture your thoughts, observations, and refl ections about the built environment around you.

Make it your permanent companion.

• Write down and draw what you see in lectures.

• Use it to record your thoughts and observations during site visits.

• Use it to explore design ideas in a sketch format.

• Record the results of your desk crits and reviews.

• Take it home to put down your design ideas.

• Take notes on what you want to work on tomorrow.

The process portfolio

is a record of your development as a student of architecture. It will allow the instructors to help you to develop your design

process by reinforcing your strengths and acknowledging your witnesses in order for you to improve your design method.

Make it a weekly habit to update your process portfolio.

Putting your work into the portfolio is an opportunity to refl ect on your design process.

• Put in sketches and drawings of your project as it evolves.

• Put in images that inspire your design work.

• Tell us how do you develop design (ideas, different design possibilities)

• Paste pages from your sketchbook directly into the process portfolio.

• Put in photos of your models, and draw over them.

• Write notes, makes links between items, draw directly on the portfolio pages to develop your design ideas. If you wish you

can sketch directly on your Process Portfolio 18”X 24” format pages and upload them to Conceptboard (web-based) loca-

tion.

The format used at Dalhousie School of Architecture is using this year is a digital format on Conceptboard (web-based)

Process Portfolio. The physical format is an A2 size or 18”X 24” inch paper. This large format encourages you to assemble

a wide range of work on a single page, helping you to make connections and linkages between different drawings and im-

ages, to edit them, and show how architectural ideas evolve. When you meet with your tutor each week, use the process

portfolios to show the tutor what you have been working on.

The Process Portfolio needs to be organized chronologically.

DESIGN PROCESS PORTFOLIO


The process portfolio is a tool that will help you to fi nd paths and the method to develop your project. It will help you:- To understand the relations between the sketch and the design process.- To develop the capacity of observation, the skill and knowl-edge of the act of design process and the sensitivity to plastic and aesthetic values;- To create conditions to face the act of project design with agility, spontaneity and awareness;- To stimulate in the project the presence of the non-systemat-ic, symbolic and poetic components of design.- To promote satisfaction and knowledge of the need and pleasure of representation; the expression of number and measure; the visual memory of outer and inner reality.- To recognize that drawing is the graphic expression of an intentionality that should seek its matrix in the external reality and in the heritage of Design and Architecture;- To understand that one can learn to draw by drawing and drawing. The intentionality of the drawing is also in the matrix that the student is the author.- To understand the importance to make mistakes. To acknowl-edge that in order to achieve a solution the student should test it over and over and the sketch can be a fast tool. In your courses, you will encounter a wide range of references that you may fi nd useful or inspiring as you develop your designs. These might be photographs, site maps, projects by other architects, poetry, written or photographic descriptions that evoke a sense of place or an effect you would like your design to achieve. As you work on your design, you will make many sketches and architectural drawings of your project as it evolves. These might include impressions of a building from a distance, how it meets the ground or landscape, the play of light on surfaces, or how one material meets another. You might study the structural system that supports a building, or how water is led away from a building. These studies should fi nd their way into your process portfolio. You may also paste pages from your sketchbook directly into

the process portfolio!

DESIGN PROCESS PORTFOLIO GUIDELINES

38

DESIGN CRITERIA GUIDELINES

TIM

ELIN

E DESIGN PROCESS PORTFOLIO DESCRIPTION

Appendix 2

B1 Learning Objectives, Inputs and Outputs, Rubrics

Italo Calvino, Invisible Cities

MAURILIA. Image © Karina Puente Frantzen

39

B1 Learning Objectives, Inputs and Outputs, Rubric - fall 2020

L0 1

B1 Learning Objectives (LO)

To develop competence and skill in ana-lyzing sites and buildings.

L0 2

L0 3

L0 4

L0 5

Architectural case studies are important to understand that built works of architecture are a resource and a teacher for the designer, to understand: • LO 1A - how architecture supports human activities and conveys meaning;• LO 1B - how the composition of formal and spatial orders and the use of materials can accommodate the life (program) taking place in the building; • LO 1C - how buildings are sited and oriented to protect from the elements, and how they are articulated to create a pleasing interior ‘environment’ in terms of views in and out, daylight, shade, warmth and ventilation;• LO 1D - how buildings stand up (their structure, elements and materials) and how they are built.

• Design intention - statement, concept drawing • Circulation / program diagram, plan + section • Site, Environment diagram overlays, plan + section,• Light studies • conceptual model, Plan + section• B1 Tech diagram.

• B1 Design Studio - Project 1 and 2A • Cristina’s lecture - Purpose of architecture / Design in context (CVer)• Brian’s lecture - Elements of architectural form (BL) • B1 Representation • B1 Technology • B1 Studio topic

LO Description Resources / Inputs Process / Outputs

To develop competence and skill in trans-lating analysis into a design concept.

• LO 2A - based on the four analytical aspects listed on (LO 1), de-velop the room or building’s design - its underlying composition and strategies for use, by synthesizing key elements of your analysis into a coherent design concept:

A. activities + meaningB. composition + program accommodation, C. site orientation + environmental interaction + protection + pleasure, D. building elements + structure + materials

• Design statement • Geometric underlays• Parti, preliminary measured sketches related to human scale

• Cristina - Project Intro• Brian lecture - Elements of architectural form (BL) • B1 Humanities - Design Statement workshop• Peter lecture: From parti to project (PB)

To develop competence and skill in archi-tectural design.

• LO 3A - Translate the design concept into an architectural proposal- considering the material, arrangement, and human experience of the building.• LO 3B - Develop a holistic approach to design, working simultane-ously in plan and section, and at three scales of site, building, and haptic detail; craft in draw-ing and modeling• LO 3C - Use framing, editing, and focus in developing and com-municating the design proposal

• Design statement • Solar study, water study • Site plan 1:500, plan + section sketches• Parti, measured drawings 1:50 • Concept model • Process portfolio - design sketches • Conceptboard presentation • Professional practice manifesto

• B1 Design Studio - A Room in the Room, Counterpoint • B1 Design Studio Progression by week • Cristina - Project Intro’s• LO 1D - B1 Technology • Peter lecture: From parti to project; Modelling Tutorial (PB) • Chad lecture - Stereotomic vs Tectonic expression (CJ)• Talbot Drafting Tutorial (TS)• B1 Tech Tutorial - Vectorworks (EJ)• Amber Lecture - Plan section elevation (AK)• B1 Representation Conceptboard tutorial (Josh)• B1 Representation - mock-up

To develop competence and skill in design communication.

To advance your design work and to communicate it effectively to audiences, whether they are reviewers, client groups, or the public.

Oral Design Presentations, PDF Submissions

To develop self-refl ection on design process and collaboration skills.

The architect Donald Schoen writes about the “refl exive practitio-ner”, as one who pays critical attention to the values which inform their actions so they may continue to learn and gain insight into their own professional development. These skills also apply to working collaboratively with others.

Process Portfolio annotations (Manifesto)

Week 0 input - Process portfolioProcess Portfolio + Reviews 1+ 2 feedbackDesign Studio - B1 / M5 Charette, Project 2, part 1 - group workPP - Manifesto

40

O

) )

Week 1 input - Online Communications - Brian / KenWeek 1 input - Adobe programs - KenConceptboard tutorialB1 Representation - Photography, Mock-up

41

B1 Learning Objectives, Inputs and Outputs, Rubric - fall 2020 (cont.)

L0 1

Rubric

Criterion 1 - Research + Analysis

L0 2

L0 3

L0 4

L05

Demonstrates an understanding of all key parameters for site analysis including; a)physical context b) cultural context, c) human activities, and d) environmental factors, when starting from direct observation. Fulfi lls expectations in analyzing and prioritizing all parameters to determine site selection; and in providing exceptional evidence/rationale for fi nal selection.

Assignment 1

Criterion 2 - Translation to Arch Design Concept

Demonstrates a range of design opportunities (options), including areas of investigation related to: a) potential patterns of use, b) spatial geometries, c) environmental context, and d) material pos-sibilities, all in relation to location, to enhance human habitation. Synthesizes research fi ndings and translates initial design ideas into a coherent Architectural Concept.

Criterion 3 - Arch Design Proposal

Demonstrates Architectural Design at the scale of the room, based on an Architectural Concept. Evidence of thoughtful and inventive design of an architectural place through the composition of mate-rial elements (fl oor, wall, roof), thresholds and light, and defi ned volumetric space.

Criterion 4 - Communication

Demonstrates communication techniques that represent your design analysis, your design ideas, concepts, and architectural design. Make use of a) Digital Photography b) Basic Mapping c) Sketching d) Orthogonal drawings - plan, section and elevations e) small conceptual models.

Criterion 5 - Process PortfolioEvidence of self-refl ection and critical response to the process of Design. Refl ection includes comments on each phase of design process (Research and Analysis, Design Translation, Design Proposal, and Communication).

1A. Demonstrates an understanding of Architectural research and analysis through indirect observation and referencing primary research sources. Provides a description of how a building is a) situated in its physical, cultural, and historical context, b) organized by geometry and structure, c) described by circulation patterns and human activities, d) composed of architectural elements and material, and e) how it mediates environmental factors such as light and climate.1B. Demonstrates an understanding of the main design principles and key decisions made, in regard to a) design intention, b) cultural or symbolic narrative, c) familiarity with precedent buildings (of a similar form, program, or site).

Assignment 2

Demonstrates a range of design options, including areas of investi-gation related to: a) potential patterns of use, b) spatial geometries, c) environmental context, and d) material possibilities in response to the case study building. Synthesizes research fi ndings and translates initial design ideas into a coherent Architectural Concept (Parti).

Demonstrates Architectural Design at the scale of the Pavilion, that also addresses both City and Body scales. Evidence of thoughtful and inventive design of an architectural place utilizing a) site design, b) program accommodation, c) sequences of circu-lation, d) the composition of material, assembly and structure, e) thresholds and light, and f) defi ned volumetric space.

• Case Study - Demonstrate Communication techniques that effectively represent your Architectural analysis. Make effective use of a) concept sketches, b) computer-generated geometry, c) orthographic drawings (plan, section, elevation), d) concept models, e) diagrams, and f) written state-ment. Make an effective oral presentation.

• Counterpoint -Demonstrate Communication techniques that represent your design ideas, concepts, and architectural design. Make use of a) Parti sketches, b) computer-generated geometry, c) orthographic drawings (plan, section, elevation), d) concept and material model studies, e) diagrams, and f) written statement. Make an effective oral presentation.

• Demonstrate self-refl ection and critical response to the process of Design. Refl ection includes comments on each phase of design process (Research and Analysis, Design Translation, Design Proposal, and Communication).

• Demonstrate completeness and clarity as a record of the term’s work, in a clean graphic format.

Information common to all B1 courses · 2020. 9. 3. · FORMAT: Lecture, Studio B1 Architectural design • History • Building technology • Representation • Professional practice

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