Dalhousie UniversitySchool of Architecture

Fall 2019

Term CoordinatorCristina Verissimo

Design InstructorsPeter Braithwaite Chad JamiesonAmber KilbornTalbot SweetappleCristina Verissimo

Ancient Settlements, Buildings & Landscapes InstructorsSarah BonnemaisonElizabeth Loeffl er

Building Technology InstructorEmanuel Jannasch

Professional Practice InstructorSusan Fitzgerald

Representation InstructorLeon Katsepontes

B1 TERM OUTLINE

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

Information common to all B1 courses

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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Intro to B1 Rep Lecture: Line

line part 2

Lecture: Orthographic, line due Exhibition

Room

Orthographic part 2

Lecture: Model

Model part 2, orthographic due Exhibition Room

Lecture: tone, photo due

Tone part 2

Lecture: collage/mock-up tone due Exhibition

Room

Presentation mock-up, Exhibition Room

The Architect

Case Studies I

Case Studies II

The Making of Architecture

Tutorial on Manifesto

Manifesto Pin-upEx Rm

——

Portfolio due @ 5pm

rep tech tutorial

practice

City walk for glossary

Seminar 1

Seminar 2

Design Statement Workshop

Seminar 3

Seminar 4

Mid-Term Quiz

Seminar 5

Seminar 6

Seminar 7

Seminar 8

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Field Trip to Project Site Studio

Elements of archi’l form (TS)

Design in context (CVer)Studio

2: Pavilion Case StudyPlan section elevation (AK)

Drafting Tutorial (TS)

Studio

2pm Asst 3: Pavilion

Counterpoint From parti to project (PB)

Studio - base drawings

Studio

Studio

Studio

1: Room in City StudyPurpose of architecture (CVer)

Studio

Studio

Studio

Studio

Studio

Studio

Stereotomic vs Tectonic expression (CJ)

Studio

Studio(Update portfolio

to include work to date)

Studio

Lecture 1: Introduction; 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

Week 1Sept 9-13

Week 2Sept 16-20

Week 3Sept 23-27

Week 4Sept 30-Oct 4

Week 5Oct 7-11

Week 6Oct 14-18

Week 7Oct 21-25

Week 8Oct 28-Nov 1

Week 9Nov 4-8

Week 10Nov 11-15

Week 11Nov 18-22

Week 12Nov 25-29

Week 13Dec 2-6

Week 14Dec 9-13

monday fridayythursdaywednesdaytuesday

tech hist design hist design

Project 3 Review Mon Dec 9 and Tues Dec 10 @ 9am | Pin-up Sunday Dec 8 @ 5pm

Thanksgiving Day(no class)

B1 / M5 charette

Fall Study Break (No classes. Update Process Portfolio to include Project 3)se ol je

room

in th

e ci

tyca

se s

tudy

pav

ilion

pavi

lion

coun

terp

oint

Process Pin-up

1 Round Robin ReviewPin-up thur. Oct 10 @ 7pm

Portfolio Review 1Tue. Oct 15 (sched tba)

Portfolio Review 2Wed Dec 11 and Thu Dec 12 (schedule tba)

Portfolio DueTue Dec 10 @ 5pm

Photography (KK)9-12:30

Photo part 2 (KK)9-12:30

model due Exhibition Room

Project 2 Review(‘Pin-up’ Thurs. Oct. 31@ 8pm)

Rotating Skills Tutorials

8:00 am - 12:45 pm

Please follow detailed schedule posted on the Medjuck Building

landing.

Student Rating of Instruction (SRIs)

intro to the B1 Term (9:30am-10:30am)

Intro to B1 Tech

Cut, Form,Assenble

Building Sequences

The WholeWet Site

Durability,Patina,

and Care

Enrichmentof Light

Geometry ofLight and Heat

MakingConnections

FormFollows

Fabrication

Anchorage

Envelope:an Introductuion

Families andTaxonomies

Life- Cycle

ExcludingPrecipitation

Including Water

Material andRadiation

Glazing

A GlobalPerspective

Electric light

MechanicalForce and Action

Bearing, Bracing,

Span

FINAL QUIZand SRI’s

MovingForward

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 away 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 crits 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 by doing it 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 the 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.- 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.- 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 24” x 36” backing sheets, and using them as pages.

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

The format used at Dalhousie School of Architecture is a 24” x 36” Process Portfolio. 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 10% of your fi nal mark in B1 Design.

The Process Portfolio needs to be organized chronologically with late work in the back.

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 why 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 in studio at their designated seat and to be present during the scheduled studio afternoon time period. Studio culture is an important part of an architectural education, and working in studio will help you to collaborate with classmates in group assignments, learn from each other, discuss your work with your tutor each week, and keep your portfolio updated.

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.

Components that are required but not assessedTo obtain access to fabrication shops and make best use of our digital printing equipment, entering BEDS students are required to take tutorials in the fi rst term: Wood Shop, Digital Media Lab, Modelmaking, etc. These are scheduled on Friday mornings during the fi rst half of the term.

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 Canadian Architectural Certifi cation Board assesses Canadian architecture programs to ensure that they are meeting the educational standards for the eventual licensure of registered architects. Dalhousie’s Master of Architecture program is fully accredited by the CACB. This enables a Dalhousie MArch graduate to become a graduate intern in an architectural offi ce and to work toward professional registration as an architect. Dalhousie’s MArch degree is also recognized in the United States, so an American citizen who graduates from Dalhousie’s MArch program can become a graduate intern in the United States and complete the professional registration examination there.

The school is responsible to set up an exhibition with the student’s work. Some of your B1 term work is going to be exhibited in the winter of 2021. For the exhibition to have a format consistency, we are asking the students to design and pin up their work on a 24” x 36” paper format, which is also your process portfolio format. This format should be used in all courses, with the exception of ARCH 3106 Ancient Settlements, Buildings, and Landscapes. More details on each pin up deliverables can be found in each course outline and can be further explained by each course instructor.

B1Professional Accreditation Exhibition (Winter 2021)

The B1 year book 2019 will be a digital compilation of the student’s work. The year book will be a nice memory for the future but it will also be printed and exhibited for the accreditation exhibition 2021.

a) You will need to submit an 8,5 ” x 8,5” page format of each of your B1 work according to an InDesign template layout that will be provided to you.b) You will have access to Dalhousie’s OneDrive to upload your own information and work.

B1Term Book

Dalhousie UniversitySchool of Architecture

Term CoordinatorCristina Verissimo

Studio InstructorsPeter Braithwaite Chad JamiesonAmber KilbornTalbot SweetappleCristina 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 2019

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 can support the life 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, integrating knowledge from your building technology and representation courses, in the following aspects:

• the four aspects listed above, in support of the building’s composition and design strategy;• a holistic approach to design, working simultaneously both 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.

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 and theories 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.

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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Integration with other coursesBecause architectural design draws on the history of architecture, 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 2:00pm to 5:30pm, for lectures, studio and reviews. Unless otherwise indicated, students will be working at their studio desk during class time, to be available for group work and desk crits. Students are expected to visit their local sites with their design tutors and on their own, and as many times as necessary.

ReadingsRecommended:Unwin, Simon. Analysing Architecture, 4th ed., London: Routledge, 2014. ISBN 9780415719162Heschong, Lisa. Thermal Delight in Architecture, Cambridge, MA: MIT Press, 1979. ISBN 026258039-XPallasmaa, Juhani. The Thinking Hand: existential and embodied wisdom in architecture, New York: Wiley, 2009. ISBN 9780470779286Parnell, Rosie and Rachel, Sara. The Crit: An Architecture Student’s Handbook, 2nd ed., London: Routledge, 2007. ISBN 0750682256

Required equipment, materials, travelEquipment and materials. Each student will need basic drawing equipment for the fi rst year of architectural studies. Year 3 BEDS develops manual design skills such as sketching, drafting, and model-making. These will continue to be the foundation of design thinking throughout your studies, however by the third term you will increasingly use digital design tools. Equipment fundamentals include:

Sketching:• sketchbook (small or medium, according to your preference)• 18” x 24” cartridge paper pad

Drafting • 48” parallel rule; adjustable triangle; two architectural scales (metric and imperial)• drafting pencil and leads (B, HB, 2H); rubber or kneaded eraser• rolls of tracing paper (white or yellow, various widths); standard size Mayfair paper; vellum if desired• 24” x 36” portfolio backing sheets

Model-making:• x-acto cutting knife and blades; utility knife with snap-off blades• metal cork-backed straightedge for model-making; 8” x 12” fl at metal carpenter’s square.• Weldbond glue

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

Mid-term standingIn Week 6 October 15, each student will review their portfolio with a team of tutors.

B1 / M5 charette: Week 3 Tuesday 24 September At week 3 Tuesday 24 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 November 29 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 Univer-sity 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 projects, all of which are assembled and arranged in a process portfolio along with the other work of the term. The work is done in groups and individually.

The 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: Room in the City (study and design of a room in an urban streetscape) Team of 4-5 (Part 1); 2-3 (Part 2) 25% • Project 2: Case Study Pavilion (study of an exemplary pavilion) Team of 4-5 20% • Project 3: Pavilion Counterpoint (design of a pavilion that complements the case study) Individual 35% • Summary and evaluation of collaborative work (after Projects 1 and 2) Individual 10% • Process portfolio (evaluated at midterm and end of term) Individual 10%

Group assignmentsProjects 1 and 2 involve group work. Each student provides a summary and evaluation of their collaborative work at the end of each collaborative assignment.

ReviewsThe review format varies throughout the term: a ‘round robin’ review (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 15, each student will review their portfolio with a team of tutors. This oral review constitutes qualitativefeedback on the progress of the student’s design work and their portfolio as a whole. By Week 7 (October 21-25), students willreceive a letter grade for Project 1. Students will receive a letter grade on Project 2 during Fall Study Break, Week 10 (November 11-15). For detailed rubric evaluations, please go to Brightspace.

Pin upWork not pinned up in the designated time slot before the review will result in a 10% penalty for that assignment.The work delivery and/or Pin up will always take place in the evening prior to the review / presentation day.

Assignments and assessment

(Both pages)Robert Mellin, Drawings of Tilting, NF. Pencil on paper.

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This section of the course outline presents the criteria 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.

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 rooms 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 sitestructure, 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

Criteria for assessment

Robert Mellin, Drawings of Tilting, NF. Pencil on paper.

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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• 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.

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

B1 StudioGrading Rubric Fall 2019 - Dalhousie University

Student name(s):

Studio Group:

Observa on and documenta on of site|20%

• Drawings convey the site: features/characteristics, constraints, opportunities for development

DESIGN RESEARCH RUBRIC

Analysis of case study buildings | 60%:

An understanding of:• building’s program, principal activities, symbolic meaning.• building’s formal, spatial composition, materiality, in relation to its purpose.• building’s siting and orientation in response to site, climate and sun conditions.• building’s internal organization and window placement creates a pleasing interior ‘environment’ through views in/out, daylight, shade, warmth and ventilation.• building stands up (its structure strategy andelements), and its materiality as a design expression

Research fi ndings and use in the design work |20% :

An understanding of:• Research is clearly presented and summarized in relevant fi ndings and conclusions that will inform future design work.• Identifi es design parameters which are informed by research fi ndings.

BUILDING DESIGN RUBRIC

Program and habita on|25%

Aesthe cs and cultural issues|25%

Structure, construc on and materials|25%

Comments / drawings:

Project:

• Supports human activities through workable organiza-tion of the size, shape, and location of rooms in a small building. Some challenges to make best use of spaces. • Appropriately acknowledges the civic presence and symbolic expression of the building, where relevant.• Public areas are designed with attention to the needs of individuals, social events and urban orders.• Provide a pleasing interior ‘environment’, including consideration of views in and out, daylight, shade, warmth and ventilation.

• Considers the composition of formal and spatial orders and use of materials, appropriate to the context and the life taking place in the building.

• Building has a clear idea about structure, with structural elements expressed in plan, section, and volumetrically.• Building materials are used appropriately to support the building design.• Construction details demonstrate basic understanding of construction process and building performance.

• well-integrated into neighbourhood• good relationship to streetscape• masses the building for compatibility with neighbours• building’s siting and orientation in response to site, climate and sun conditions.

Site and Context |25%

Comments / drawings:

Project:

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B1 StudioGrading Rubric Fall 2019 - Dalhousie University

Student name(s):

Studio Group:

B1 StudioGrading Rubric Fall 2019 - Dalhousie University

Student (s) Name (s):

Studio Group:

Basic representa onal skills | 40%

Strategic use of representa on | 40%

• 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 presenta on in reviews | 20%:

• 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.

Refl ec on on the design process

Collabora on with others

Comments :

•The design work is regularly assembled in the process portfolio.• The process portfolio includes all signifi cant work done in the term, in organized sections. Group work is correctly attributed.• The process portfolio shows the student’s refl ection on their design work, judgement of what is working and what not, and informs subsequent design work. • The student is developing some awareness of their working method and interests.• The process portfolio shows development in design skill over the course of the term.

• The collaboration assessment identifi es problems encountered in teamwork.• The assessment shows efforts made to develop col-laborative problem-solving techniques.• The assessment identifi es reasonable strategies for improved collaboration in future projects. The student is seen as a ‘teamplayer’.

DESIGN COMMUNICATION RUBRIC REFLECTION AND COLLABORATION RUBRICS

• Uses four of the architectural conventions of plan, sec-tion, elevation, axonometric and/or perspective to develop the design. Plans, sections and elevations generally cor-respond.• Exploration of appropriate representational techniques (e.g. line drawing, tonal/colour 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.

Comments :

Project: Project:

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Project 1 Room in the city

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

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 B1 Term, you are asked to study a public room of your choice in Halifax.

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. Many signifi cant rooms front on equally signifi cant outdoor spaces that serve as extensions of the room. In this exercise, you are asked to investigate how these fundamental characteristics of place are manifest in the architectural culture of Halifax.

In this exercise, you will work with your classmates to study an urban room and then design a new room in relation to, and in response to the room you have studied. The goal 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 models — and to practice architectural design. Together with your design partner, you determine what activity the room will support (i.e. its ‘programme’). It might be, for example, a gathering place, a retreat, a sports or bathing or eating pavilion. It may be any size, but it must have a defi ned entry and an opening for light to enter the room. Also, you must demonstrate how the design proposal supports and improves the urban character of your study site.

Presentation requirementsA 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. The core of your presentation should have the following elements:

• Site and location plan, showing the room in its urban setting and in relation to the study site• Orthographic drawings, showing the room in plan, section & elevation — 1:50• A sketch model, showing darkness & light — 1:50 (include process studies and work from the B1 workshops)

For your presentation, each team of two people will have at least 1.5m horizontal width of wall space for your project, and the height from fl oor to the top of the rolling partition.

Due dates and reviewsProcess pin-up Friday, September 27, 2019 in the Exhibition Room.Final review Friday, October 11, 2:00 pm. Pin-up work Thursday, October 10, 7:00 pm in the Exhibition Room. Please bring your process portfolios on Tuesday October 15 according to the schedule and location to be posted.

EvaluationProject 1 represents 25% of the course mark. Applicable rubrics: Design Research 30%; Building Design 45%; Design Communication 25%. The collaborative assessment represents 5% of the course mark, using the rubric Collaboration with Others. The mid-term process portfolio represents 5% of the course mark, using the rubric Refl ection on the Design Process.

Room in the city : Groups, buildings and access

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Design Group 1 (University) Tutor: Talbot1a. Goldberg Computer Science Building on

University Avenue Access: The lobby and atrium are open Mon–Fri

9am–5pm. Classrooms and labs are off-limits. Contact Anne Publicover (assistant to the dean), 494-1199; apublicover@dal.ca.

1b. Chapel in the University of King’s College quadrangle

Access: + 902.422.12711c. Reception Room, Dal Arts Centre, 6101 University Ave Access: (902) 494-3772

Design Group 2 (modern / contemporaryTutor: Amber2a New Central Library on Spring Garden Road2b Sexton Gym on Barrington Street2c. Design Building

Design Group 3 (landscape) Tutor: Cristina3a. Horticultural Hall. Halifax Public Gardens3b. St Mary’s Boat Club, 1641 Fairfi eld Rd Access: Phone + 902.490.46883c. Sir Sandford Fleming Memorial Tower Access: + 902.490.4643; archives@halifax.ca

Design Group 4 (symbolic/historical) Tutor: Chad4a. The Halifax Citadel Access: Open 9am-5pm until 1 October. Individual

admission is $11.70, Group admission is $10.50. No post secondary discounts. Ask for a free “ambassador” pass with your ticket, to return multiple times, for a year.

4b. St. Paul’s Anglican Church in the Grand Parade Access: Open Mon–Fri 9am–4:30pm. Call to confi rm

that it is open and no service is scheduled. Do not sit in the padded Royal Pew at the front left. For access to the balcony, call ahead for an appointment.

Cont. Meaghan, 429-2241 / offi ce@stpaulshalifax.org.4c. Halifax Junior Bengal Lancers stables, on

1690 Bell Rd Access: + 902 423-6723

Design Group 5 (industrial) Tutor: Peter5a. Via Rail Hall, 1161 Hollis St5b. Pier 21 Entry Hall Access: Phone: +1 902-425-77705c. Grain elevator Access: jbrownlie@halifaxgrain.com. You can fi nd more

contact information here: http://halifaxgrain.com/contacts/.

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Part 1 In groups of 4/5 students: Study an urban room ...Draw your room in its urban context, in plan, section and elevation. These will be the key drawings through which you communicate your analysis. The drawings may be at various scales, for example: a plan of the room, or a plan of it in relation to its street or plaza; a section of the room, or a section through the city showing where the room is in relation to the city. Are the most important elevations of the room interior elevations or exterior ones? Or elevations of the street that the room looks onto? Once you have your drawings, you can decide how to put these together to tell your story about 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. Using the orthographic drawings as a base, layer your analytical studies on the base drawings. 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?

Part 2 in groups of 2-3 students from the Part 1: Design a new room in relation to and in response to the study room ...As you study the 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?

As you develop your ideas about the new room, you will need to draw and model it in relation to your study room. Communicate its qualities, so other people can see what you imagine. In developing your idea, it is helpful to focus on a particular aspect or quality of the room, such as material qualities, light, volume or proportion.

Solids and voids ...This assignment is shared between four of your B1 courses. It relies partly on the knowledge and abilities that you and your peer bring to the BEDS program, and partly on architectural topics introduced during the fi rst weeks of the term. Student groups, assisted by their design tutor and course instructors Emanuel Jannasch, and Leon Katsepontes, will carry out an integrated study of a room in the city. As part of this exercise, we will have an exercise in clay and plaster. You will be asked to make a clay model of some aspect of the study room or the room you imagine creating in the context of the study room. This could be the volume of an interior space, the surface of a wall, an opening between the study room and the street. You will learn how to make a plaster casting of the clay model, to create positive and negative space. This is an opportunity to think about solids and voids in form-making and the relationship between these.

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(Opposite page, left to right)Site study of the kasbah in Ghardaia, Algeria, through an analysis of

viewplanes and visual networks. André Ravereau, 1961.Drawing and model of Year One fi nal project, Bartlett School of

Architecture, University College London. Nicola Czyz.

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

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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.

In this Case Study exercise, noteworthy buildings are studied closely to understand some basic architectural principles:• How a building is situated in its context• How it is organized — its geometry & formal composition• The experience of being in the building & moving through it• The architectural elements of the building — fl oor, wall & roof• 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 analysisAssemble a portfolio of your building, using books, journals, and the web (compare sources to determine which are authoritative). 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 physical model.

Working from your documentation, your group will analyze the architectural strategies employed in the pavilion, including: spatial relation of building to context; organizational geometry 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. 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.

Presentation requirementsYour group’s presentation will include four parts, presented on the wall, with a horizontal width of 2.5 meters:

• orthographic drawings (plan, section and elevation).• a model of the pavilion.• 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, to the whole class.

Due date and reviewPin-up work Friday, October 31, 7:00 pm in the Exhibition Room. Review Thursday, November 1, 2:00 pm.

EvaluationProject 2 represents 20% of the course mark. Applicable rubrics: Design Research 75%; Design Communication 25%. The collaboration assessment represents 5% of the course mark, using the rubric Collaboration with Others.

Project 2 Case study pavilion

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

RADIAL PLAN AXIAL PLAN FREE PLANTemple of Hatshepsut, Deir-el-Bahri, Egyptunder Pharaoh Hatshepsut1480 BCE

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

Forge, Avon Old Farms School, CT USATheodate Pope Riddle1929

Thorncrown ChapelEureka Springs, AR USAE. Fay Jones1980

Moorelands Camp Dining Hall, Dorset, ONShim-Sutcliffe2000

German PavilionBarcelona, SpainLudwig Mies van der Rohe1928

Teatro Ofi cinaSão Paulo, BrasilLina Bo Bardi1989

Brion CemeterySan Vito d’Altivole, ItalyCarlo Scarpa1969-78

Thermal BathsVals, SwitzerlandPeter Zumthor1996

Landscape Formation OneWeil am Rhein, GermanyZaha Hadid19196-1999Photography © Hélène Binet

Beta Giyorgis ChurchLalibela, Ethiopiaunder King Lalibela12th c. BCE

Tempietto in S Pietro del MontorioRome, Italy Donato Bramante 1502

Notre Dame du HautRonchamp, FranceLe Corbusier1955

Round Stone BarnHancock, MA USAShaker community1826

First Unitarian Church of Rochester NY, USALouis Kahn1969

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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 programme, 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.

Programme: Determine the purpose (programme) of your pavilion, in relation to the case study building. It must include at least 800 sf (80 m2) of enclosed space with defi ned entry point(s) and opening(s) for light to enter the room, and essential facilities for human comfort (water, 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.

Presentation requirementsThe presentation should show the following aspects of design:

• The pavilion in its site and in relation to the case study building• The pavilion in plan, section & elevation, using “layered drawing” techniques — 1:50• A signifi cant portion of your pavilion in model, showing materials & light — 1:20• Representations of your design process, from parti through development• A statement of how this pavilion is a counterpoint to the case study pavilion (max. 150 words) and the text of your professional practice manifesto.

For your presentation, you will have at least one linear meter of wall space for your project, and the height from fl oor to the top of the rolling partition.

Due date and reviewPin-up work Sunday, December 8, 5:00 pm in the Exhibition Room. Review Monday, December 9, 9:00 am - 6:00 pm. May continue into Tuesday, December 10, 9:00 am - 12:00 noon.

EvaluationProject 3 represents 35% of the course mark. Applicable rubrics: Building Design 75%; Design Communication 25%. The end-of-term process portfolio represents 5% of the course mark, using the rubric Refl ection on the Design Process.

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 3 Pavilion counterpoint

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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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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

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