Dalhousie University School of Architecture ARCH 3501.03 ......line Freehand drawing is an essential...

Dalhousie University School of ArchitectureARCH 3501.03 Representation, Fall 2019Wednesdays, 9:30-12:30, Room B311instructors: Leon Katsepontes ([email protected]), Ken Kam ([email protected])teaching assistant:Caitlin Stairs ([email protected])course website: https://dal.brightspace.com/d2l/home/99718

ARCH 3501.03: Representation 2019 LK2

images

cover: Michael Webb, Sin City, Elevation of Car Ramp, https://www.drawingmatter.org/sets/drawing-week/mark-dorrian-michael-webb/,accessed 05/30/2019.

page 5: Peter Zumthor, elevation of Atelier Zumthor, from Peter Zumthor: Buildings and Projects, Volume 1, Scheidegger & Spiess, Zurich, 2014.

page 6: Karl Friedrich Schinkel, Tilebein House entry, https://www.drawingmatter.org/sets/drawing-week/karl-friedrich-schinkel/, accessed 23/06/19.

page 7: top - Jorge Otieza, Homenage a Mallarme, 1975, JAE, Vol. 72, Issue 1, March 2018. bottom - Bolles + Wilson. Cosmos Commercial Building Model, Tokyo, 1989, AA Files no. 20, Autumn 1990. page 8: print layouts, Ken Kam.

page 9: top - Alberto Campo Baeza, Guerrero House, 2005, https://www.campobaeza.com/guerrero-house/, accessed 23/06/19. bottom - Le Corbusier, Eglise Saint-Pierre Firminy France, https://gizmodo.com/a-rare-tour-of-le-corbusiers-last-and-most-brilliant-1349702440, accessed 23/06/19.

page 10: top - Enric Miralles and Carmen Pinos, unnfolding a croissant, El Croquis No. 49, 1991. bottom - Raimund Abraham, The House without Rooms, 1974, https://www.moma.org/collection/works/792, accessed 23/06/19.

page 11: left - Paul Webb, M. D., editor. Binocular Visual Fields with Head and Eyes Fixed, from Bioastronautics Data Book Washington D. C.; NASA Publications 1964. right - Andreas Vesalius. Illustration of the Hand, 1543, from De humani corporis fabrica;Daniel Garrison, Malcolm Hast and Northwestern University. 2003; http://vesalius.northwestern.edu., accessed 27/08/14.

calendar description credit hours: 3This class studies fundamental concepts, techniques, and applications of architectural representation. Course work involves freehand drawing, orthographic drawing, model making, and photography. Drafting and modeling equipment are required.FORMAT: Lecture/Studio RESTRICTIONS: Year 3 BEDS students

course descriptionThe study of representation involves the communication of architectural ideas, observed and discovered in objects, places, and phenomena through draw-ings, images, and constructions. This study employs the graphic language of communication within the discipline of architecture and its expressive potential as a vehicle of speculation and research. In B1, Representation focuses on developing skills of the eye and hand.

objectivesTo develop understanding and ability in the following modes of representation:- freehand line drawing- tonal drawing- orthographic drawings of existing and proposed designs- constructing of sketch models, analytical models, design proposals- photographic documentation of work, digital processing of images- composition and presentation of work for the portfolio and project reviews.

integration and rationaleThis course is the first in a stream of courses running through the BEDS program. B1 Representation works in parallel to the themes, sites, and subject matter of courses in Design, History, and Technology.

course formatThe course consists of lectures, workshops, studio work, pin-ups, and reviews. Lectures will introduce the technical and practical basis necessary to carry out assigned work. Assigned work will correspond to and support the objectives of the Design Studio Projects. Work will be discussed through thematic work-shops and in small groups through informal pin-ups as well as project reviews common to Design, History, Technology, and Representaion courses.

CACB student performance criteriaThe BEDS/MArch program enables students to achieve the accreditation standards set by the Canadian Architectural Certification 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.

ARCH 3501.03: Representation 2019 LK 3

week

1 Sept. 11 course introduction, lecture: line

2 Sept. 18 lecture: line part 2

3 Sept. 25 lecture: orthographic line due, Ex. Room

4 Oct. 2 lecture: orthographic part 2

5 Oct. 9 lecture: model

6 Oct. 16 lecture: model part 2 ortho. due, Ex. Room

7 Oct. 23 lecture: photo (KK)

8 Oct. 30 lecture: photo part 2 model due, Ex. Room

9 Nov. 6 lecture: tone photo due

10 Nov. 13 -------- study break --------

11 Nov. 20 lecture: tone part 2

12 Nov. 27 lecture: collage/mock up tone due, Ex. Room

13 Dec. 4 pinup: collage/mock up

14 design reviews

course schedule

SRIStudent rating of instruction (SRI) for the course will occur in week 12. Please refer to the Design Studio outline for details.

course bibliographyExcerpts from the following texts will be made avaialble on Bright Space.

Ching, Francis D.K., Juroszek, Steven P.. Design Drawing. Hoboken NJ: John Wiley, 2010. Dernie, David, and Ebooks Corporation. Architectural Drawing. Second ed. London: Laurence King Publishing, 2014.Dunn, Nick. Architectural Modelmaking. London, Laurence King Ltd. 2010. Fraser, Iain. Hemni, Rod. Envisioning Architecture: an analysis of drawing. New York: John Wiley, 1994. Leborg, Christian. Visual Grammar. 1st ed. Design Briefs. New York: Princeton Architectural Press, 2006.Linton, Harold. Portfolio Design: New York: Norton, 2003.Morris, Mark. Models: Architecture and the Miniature. Chichester: John Wiley, 2006.Unwin, Simon. Analysing Architecture. New York: Routledge, 2014.

assessmentline - 20% orthographic - 20% model - 15% photo - 20% tone -15% digital collage/mock-up - 10%

Students are expected to pin-up work of each project in the Exhibition Room on the dates indicated. This work will be collected following the pin-up and discussion. The photo project will be submitted in the form of a hardcopy and a digital upload.

This three-credit-hour course expects an average of nine hours per week for all course-related activities, including classes and assignments. Equipment required for this course is listed in the “Intro to Architecture at Dalhousie” book-let that was distributed to students before the start of the term. Each student should expect material expenses of approximately $70 for this course. Course work is expected to demonstrate clear understanding of the principles and objectives underlying each project. Each project should be presented as a coherent and finished piece. All work of the term should be created and main-tained in consideration of the objectives of the “Process Portfolio” outline. Work will receive written comments from the instructor (Ken Kam will grade the photo assignment), on the basis of: fulfillment of project requirements, technical skill, clarity, and evidence of intentions. Late work without a Student Declaration of Absence will be penalized one third of a letter grade per weekday (eg. A to A-).

grade scale and definitionsGrade Value % Definition A+ 4.30 90-100 Excellent. Considerable evidence of original thinking; demonstrated A 4.00 85-89 outstanding capacity to analyze and synthesize; outstanding A- 3.70 80-84 grasp of subject matter; evidence of extensive knowledge base B+ 3.30 77-79 Good. Evidence of grasp of subject matter, some evidence of B 3.00 73-76 critical capacity and analytical ability; reasonable understand B- 2.70 70-72 relevant issues; evidence of familiarity with the literature.C+ 2.30 65-69 Satisfactory. Evidence of some understanding of the subject C 2.00 60-64 matter: ability to develop solutions to simple problems; C- 1.70 55-59 benefiting from his/her university experience.D 1.00 50-54 Marginal Pass. Evidence of minimally acceptable familiarity with subject matter, critical and analytical skillsF 0.00 0-49 Inadequate. Insufficient 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 and no credit obtained Withdrew after deadline ILL Neutral and no credit obtained Compassionate reasons, illness

course policies

sourcesDalhousie guidelines for citing sources can be found at: tinyurl.com/dal-arch-writing.Chicago Manual of Style quick guide: http://tinyurl.com/chicago-quick-guideChicago Manual full guide: http://tinyurl.com/chicago-full

plagarismStudents are expected to complete course assignments individually. Graphic submissions are not subjected to analysis by plagarism detection software. Each student is responsible for the originality and integrity of their work

university policies and resourcesSee the School’s “Academic Regulations” page (tinyurl.com/dal-arch-regula-tions) 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 guidlines (copyright)- Dalhousie University Library.

tutoring and academic support Registrar’s Office Guide for Students 2018 – 2019, dal.ca/rostudentguideDalhousie academic tutoring and support - https://www.dal.ca/campus_life/academic-support.htmlSchool of Architecture Digital printing guide - https://tinyurl.com/dal-arch-printingrepresentaion website (log in required) - http://tinyurl.com/dal-arch-repprocess portfolio - http://tinyurl.com/beds-years-3-4


line Freehand drawing is an essential skill in documenting our surroundings, recording of initial architectural ideas, and the testing and development of these ideas as part of the design process. We will conduct a study based on close observation of building and site, architec-tural elements, their composition and expression, their human occupation.

For architects, the freehand drawing, the developed study of an existing or imagined building, refers to the immediate subject of the drawing and also the larger discipline of the history of architectural form. By documenting our surroundings, and particularly works of note, we we are necessarly involved in an act of interpretation, an act of making the thing ours simply by drawing it. Drawing skill is acquired over time: each subsequent drawing refines both the techniques of drawing and the skills of observation.

In the Room in the City project, we will undertake a set of drawn investigations to understand the building in its context and the particular quallities of the room.

1. contour drawings To loosen up, become comfortable with the media and drawing on site, a set of blind, half blind, contour drawings will be made from various positions in the study site. Draw a short series (5) of blind/half-blind contour drawings at the beginning of parts 2 and 3.

2. measured freehand plan, section, elevationWorking in pairs and using basic measuring devices: pacing, the hand, tape measure, string, record essential information of the study building. Consider the overall shape, proportions, openings, building relation to the ground, walls, openings, roof, material, architectural details. Individually, draw a plan, section, and elevation of the subject building.

3. experience of space - sequence drawings As you become familiar with the building and its context, consider your movements and interactions with its exterior and interior spaces. Enact and examine a route which includes the approach to the building in its context, movement to or along the building volume, entry, the first interior space, and the primary room. At any moment one is observing the building or portions of it from a space that has its own definition and qualities. A series of freehand drawings will be made which record what is seen in the form of an architectural elevation bounded by a section in which you stood.

Work will be assessed on the basis of: quality of observation, descriptive qualities of line, effective recording of architectural form, composition on the drawing sheet, organization and presentation of work. This work may form part of the Room in the City presentation, at your discretion, and should be formatted and organized as a coherent submission.


orthographicThis project studies the conventions and potentials of orthographic drawing in the process of design. These drawing(s) will be constructed by hand using drafting instruments.

1. baseConstruct scaled orthographic drawings of the Room in the City site in the form of a related plan and section.These should be drawn in pencil (2mm lead holder) on a single sheet of mayfair or other opaque paper. The scale of the drawing will depend on the site and your intentions but to be uselful a scale of 1:100 or 1:50 is recommended.

The drawing should consider:- the existing building and its context- the composition of the drawings on the page and relations between plan and section- quality of line and hierarchy of line weights- line type, notation of section cut, presence of graphic or numerical scale, north arrow- level of detail in describing materials, structure, pattern.

2. layersThis base drawing will act as a field of investigation and speculation for design. Using full sheets of tracing paper or vellum record all design investigations and studies. The design work should consider issues of composition, material, human occupation, and the abstract. All studies will all be layered on this base drawing. Proceed untill a new idea emerges or the drawing becomes unworkable. All ideas will be drawn in both plan and section. As the work develops, consider shifting scale, moving from the level of the site to the level of detail.

As a method of work, the layered drawings will allow transfer and modification of information from one drawing to the next, the working together of plan, section, details.This is a process of editing, self-critique: developing conceptual and graphic clarity.

Work will be evaluated on the basis of:- presence and quality of base drawing- presence and quality of layered work in the form of drafted, freehand, marginal, notational work, recording and documenting the process of analysis and design- quality of line work, evidence of intention in each drawing- understanding of conventions of plan, section, elevation- coherence and presentation of work.


model There are numerous ways to approach model making. There may be a careful and developed work of craft presenting a finished design to a client or other audience. There may be a study, in the process of design, in which ideas, forms, arrangements, are tested. There may be more or less spontaneous, intuitive arrangements of materials, of forms that express or capture an idea. We will construct a series of models exploring a range of modes and intentions characterizing three dimensional work.

1. concept model of Room in the City DesignThis model will be based on the recently completed Room in the City Proposal in a small yet well crafted concept model. It is simplified, essential, using a minimum of parts and at a scale and level of detail that express the primary architectural gesture. It is a distillation of design intentions.

2. analytical model of the case study buildingA case study model focuses in a single aspect of the work. An analysis of the building may take the form of: relation of form to context, structure, envelope, relationship to light, the organization of internal spaces, circulation, proportions and organizing systems, symbolism, ritual.

3. ground and enclosureConsider the landscape of the site, the horizontal layers (strata), and the defining edges. Construct a model of the ground condition as an abstraction of site qualities. This should be carefully considered to reveal the qualities of the context. In this “site” consider the fundamental conditions of on, above, in. Construct a model of planar elements in this landscape on the idea of enclosure.

All models will be evaluated in the basis of clarity of conception, choice of materials, attention to craft. Work in progress will be reviewed in week 6. All modeled work will be documented photographically and submitted as a single document.


photo (Ken Kam)“You don’t take a photograph, you make it.”Ansel Adams

This project involves digital documentation of modeled work. The goal of this project is to develop awareness of how lighting, aperture/depth of field, and composition affect the overall appearance of an object. We will explore the use of artificial light in photographing models in a controlled space. Students will also learn effective ways of placing images into InDesign through Photoshop and produce a print out.

documentation of modelsUsing the techniques shown in class, produce 5 sheets (11” X 17”) of images showing the following:

1. soft light (clearly define subject - shapes)2. hard light (clearly defing subject - lines3. using different focal lengths to demonstrate different outcomes from the same model/subject4. composition using plan and elevations5. Equipment required for this course is listed in the “Intro to Architecture at Dalhousie” booklet that was distributed to students before the start of the term. creative compositions

What: re-visit, Take - Edit - Layout - Print

Checklist/criteria for Project:

1. Submission of 5 (11” X 17”) sheets of your photographs in black and white and/or color.2. Photograph and perhaps re-photograph your work, the desired result may not be captured the first time.3. Post-production work: after taking the photographs, read the images carefully. Is the image too dark? Do I need to adjust the “level”? Do I need to straighten the photographs? Etc. 4. Pay attention to details in highlight and shadow areas of your images.5. Pay attention to the point of view/perspective of the model.6. Composition - did you lok for lines and shapes?7. Composition - did you compose with the entire frame of your camera?8. Did you explore using different focal lengths with your camera?9. Did you use the intire photographic frame for images in your layout?10. Are you 100% satisfied with your print out?11. Finally. have fun with it!!

Hand in (hardcopy): 5 sheets of images in color or black and white on 11” X 17”Hand in (digital file): packaged Indesign file with linked images


toneThis project investigates the role of light in the conception and experience of architecture. This will involve close observation and documentation of qualities of light and shadow and the development of an understanding of light and shadow in the design proposal.

This study will restrict itself to the observation of natural light. Observation will involve analysis and understanding of a range of tonal values, the geometry of the sun’s angle, configuration of openings, the identification of particular qualities and intentions toward the design project.

1. field studyWe will conduct a local search for two( 2) distinct conditions of light in interior spaces. These should be chosen for their vivid qualites of space and light and as potential analogues to the light sought for the Pavilion Reponse Design.

Construct a gray scale of ten (10) increments using a HB or F pencil. on apaque paper such as mayfair. Aim for a consistent gradient of tonal values along the gray scale. Several attempts may be necessary. Construct a second grayscale using a different technique of mark making.

A series (4) of large drawings will be made in site using graphite or charcoal. Complete two drawings for each lighting consition you have selected. These may be drawn on inexpen-sive newsprint or bond paper. These studies should investigate the tonal range of the light present, describe volumes of light and shadow, lighting of and qualities of materials. A notation should be made on each drawing recording the location, direction of view, date and time of day.

2. section of lightA large section (1:50 - 1:25) of the Pavilion Reponse Design will be drawn orthographically and will form the basis of a tonal drawing depicting the qualities of light and material in the Pavilion Response Design. This drawing should consist of line work only, making clear the sectional quality of the space and the interior elevation.

In this section, a tonal study will be drawn that explores a sense of space and light. The geometry of light will be considered, material pattern and texture will be described, a quality of light will be sought.

Work will be assessed on the basis of: quality of gray scales, close observation of space and behaviour of light in the field drawings, construction of a clear building section, a con-sidered and effective rendering of the interior space conveying direction and entry of light revealing spatial and material qualities.


10

presentation strategiesThe identity of the project is sought through a strategy of presentation/communication.

1. digital collageAn inventory of the sketches, freehand drawings, plans, sections, images, created, researched and collected through the process of design will be examined, edited and transformed into a project collage. This will involve a process of editing and critique to identify the most significant formal ideas, material qualities, human activities, architectural precedents. This work will involve image editing and composition in photoshop. Planning and securing a printout is essential. 11” X 17” - 18” X 24”.

2. mock-upIn the impending arrival of a presentation of the design scheme, the identity and communication of a design idea should be clear, concise and explicit. This depends on a fidelity toward the design idea, the selection and composition of appropriate orthograph-ic drawings, models, and images. All material shoud be in support of the architectural idea presented and/or the process involved. The presentation should consider work that is completed and work that is planned.

Produce a mock-up of the Pavilion Response Design Presentation. Where work is planned but not yet present place a note idesntifying lication and nature of the drawing or model.

ARCH 3501.03: Representation 2019 LK

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