LAND 362 Form and Expression in Garden Design 2017
Spring Term 2017 will be devoted to the exploration of ideation, design, and representation strategies for a small college campus and garden-scale environments and their connections with natural areas, culture, and urban neighborhoods. As students of design, you will explore and assimilate fundamental ideation (creativity) and representation theories, methods, and skills. You will learn about the history and philosophy of design, issues of the natural and cultural landscape, analysis techniques, and digital and hand-drawn methods. Attention is focused on experiences that result in mastery of methods and skills needed for the sequential components of design: Research, Analysis, and Synthesis. Methods are addressed in a series of discussions and projects. Case studies extend to contemporary precedents of the profession in analysis, design, and representation. This research and knowledge of campus gardens and garden types will influence, guide and shape your design processes in your own landscape designs. You will develop concept design exploration with various drawing/drafting mediums and techniques, and model making. This design process draws on your personal creativity to analyze, explore, experiment, create, draw, review, and construct. You will acquire substantial personal skills through preparation of projects. Special emphasis will be placed on learning to be a creative designer/divergent thinker.
Studio Strategies and Requirements:
Please see ASLA Student Awards for 2016, 2015, 2014, and 2013. The studio is conducted as a series of explorations and experiments aimed at developing individual self-reliance, self-esteem, successional practice in making analysis and design decisions, recognizing problems, looking for alternatives, and expressing a chosen solution. Studio space, Instagram, and Facebook (optional) requirements consist of a series of explorations and representations of case studies, theories, and methods. Instagram (separate account) references and interactions are required. You will be required to present and discuss your own current project and your classmates’ projects each Tuesday and Thursday. There will be a sequence of accessible minimum requirements – please feel very free to do more. Students will be encouraged to visit exemplary landscapes in the region. Required 362 studio equipment and materials are available at the CSU Bookstore or online. Your individual spaces are in the east studio of Natural and Environmental Sciences.
How to Learn Better
Peer-to-peer teaching and learning will be encouraged – the fundamental definition of studio. Layered above and into that are the following: Be present at the beginning of each class .. Be engaged .. Do one thing at a time .. Know the problem .. Learn to listen .. Learn to ask questions .. Distinguish sense from nonsense .. Accept change as inevitable .. Admit mistakes .. Big ideas, small words .. Be calm .. Smile. (Largely borrowed from the Harvard School of Design Student Handbook, 2016)
On the profession:
Academic Design School References:
Instagram (separate account) references, projects, and interactions are required,
Instagram and Facebook posts of leading firms and other sources, including: Landscape Architects Network, The Cultural Landscape Foundation, The Architect’s Newspaper, and others uncovered and disclosed in class.
Cohen, Susan. 2015. The Inspired Landscape – 1st Edition. Timber Press.
Oehme, Wolfgang and Van Sweden, James. 2002 Architecture in the Garden. Random House
Trieb, Marc. 2011 Meaning in Landscape Architecture and Gardens. Taylor and Francis
Walker, Peter and Simo, Melanie. 1996 Invisible Gardens. Triliteral Press
Francis, Mark and Hester, Randolph. 1991 The Meaning of Gardens. MIT Press
Hunt, John Dixon. 1992 Gardens and the Picturesque. MIT Press
Pregill, Philip and Nancy Volkman. 1993 Landscape in History. New York: Van Nostrand Reinhold
Sullivan, Chip. 2002 Garden and Climate. McGraw‐Hill
Walker, Peter. 2005 Defining the Craft. Oro Editions
Walker, Peter. 1997 Minimalist Gardens. Spacemaker Press
http://www.asla.org/2016awards | http://www.asla.org/2015awards/ | http://www.asla.org/2014awards/ | http://www.asla.org/2013awards/ | http://www.asla.org/2012awards/ | http://www.asla.org/2011awards/ | http://www.asla.org/2010awards/ | http://www.asla.org/2009awards/ | AutoCAD fundamentals – http://cadtutor.com | Rhino fundamentals – http://www.youtube.com/watch?v=IqVS48mszuk http://www.youtube.com/watch?v=Qcp6oBPdovw | ArcGIS fundamentals – http://training.esri.com/gateway/index.cfm
Although there are adequate studio computing facilities, it will help significantly in this and other courses if you have your own computer in the studio and at home with Rhino, Photoshop, AutoCAD, InDesign, Illustrator, iMovie or MovieMaker, SketchUp, Google Earth Pro, and ArcGIS.
Scholarly Progress and Grades:
Please see ASLA Student Awards of 2016, 2015, 2014, and 2013 for reference and relevance of your own methods and skills. In keeping with the standards of a nationally accredited program, class attendance is uniquely valuable and necessary for engagement of projects and for learning new creativity, ideation and representation skills – only university approved absence (see CSU 2015-2016 catalog) is accepted without reduction in final letter grade, and must be given notice in advance. Daily attendance is required for grade of A – attendance is recorded. All interim and final submittals, including the Russell L. Butler II Memorial Scholarship project, are needed to receive a final grade.
” A ” Submittals are of distinctive thoroughness and quality, includes class attendance and presentation of current project each Tuesday and Thursday.
” B ” Submittals would be of distinctive thoroughness and quality with minor revisions or additions.
” C ” Submittals would be of distinctive thoroughness and quality with moderate revisions or additions.
” D ” Submittals would be of distinctive thoroughness and quality with major revisions or additions.
” F ” Submittals are without, or nearly without, redeeming qualities.
Students are assessed on physical presence in the studio, progress and contributions in class discussions and reviews, on figure grounds for determining design principles, on models of form, on axonometrics at detailed scale, on eye-level hand- and digital-drawings of form and character, on a written reflective summary of intent, and on the final multimedia review.
This landscape architectural studio focuses learning on design projects comprised of a series of tasks centered on a design theme, or client narrative. All design studio projects require students to analyze existing designs and propose an alternative solution, and to create a physical prototype for their own design. Each component of each studio project is focused to achieve particular student learning outcomes. Each design assignment includes explicit due dates and minimum requirements to be met.
The processes and outcomes of the studio projects are exploratory and ‘open-ended.’ The studio includes a range of projects and activities which can be analyzed for their capacity to address skills development, concrete knowledge and tacit knowledge:
Skills development – occurs when students are working with and through categories or orders of disciplinary specific knowledge using disciplinary specific skills and conventions.
Concrete knowledge – tends to be structured, such as knowledge of composition, materiality, form, space and its experience.
Tacit knowledge – is indicated by the student’s judgement in relation to knowledge and skills. It is accumulated through applying skills and concrete knowledge during a process and allows an understanding of abstract notions of order and the conceptualization and synthesis of ideas.
In order to conclude a relative (to distinctive) thoroughness and quality, I consider the Vitruvian principals: that works must have utilitas, firmitas, and venustas, described as follows:
The essential components of landscape architectural values are embodied by the Vitruvius’ concepts of utilitas (function, usefulness, utility), firmitas (solidity, materiality, strength), and venustas (beauty, delight, desire).
Three critical organizing precepts may be considered in the articulation of the values of firmitas, utilitas, and venustas. The first is that accomplishment of a work constitutes a unity brought to component parts that, on their own, may be quite differential. Secondly, by inclusion of venustas, Vitrivius considered that not only the objects/items are important but also their ‘audiences’, and that aesthetics can be considered apart from usefulness and even materiality. The third Vitruvian aspiration is indicated to resolve the disparate nature of the three components: that place-making/works-making is a unity that is not allowed to maintain difference but must find a clear topological congruence that should not be relegated to some extrinsic point of view (outside of the landscape or work).
This course will adhere to the 2011 Academic Integrity Policy of the Colorado State University General Catalog and the Student Conduct Code for all graded elements with regard to appropriate uses of sources, internet or otherwise; receiving assistance from others; and the use of prior work.
CSU Honor Pledge:
I pledge on my honor that I will not receive or give any unauthorized assistance in this course and endeavor toward meaningful social and environmental responsibility.
Printed Name Signature Date
|LAND 362 FORM AND EXPRESSION IN GARDEN DESIGN SEQUENCE – SPRING TERM 2017|
|1/17 Introductions – 362 and Lamar Community College Design Project – Begin existing conditions model in Acad or Rhino||1/19 Review and discuss draft of buildings – begin circulation and vegetation|
|1/24 Review and discussion||1/26 Existing Conditions Model Due w/ Images on Instagram and Flash Drive submitted – Begin site issues|
|1/31 Review of site analysis – Begin programming w/ design form figure grounds||2/2 Review and discussion|
|2/7 Review figure grounds – Begin concept design based on cultural forms in the region||2/9 Review and discussion|
|2/14 Review of culture model and plan – Begin eye-level sketches||2/16 Review and discussion|
|2/21 Review – begin concept design based on riparian forms in the region||2/23 Review and discussion|
|2/28 Review of nature model – Begin eye-level sketches||3/2 Review and discusssion|
|3/7 Review and discussion||3/9 Discussion – 3/10 5pm Lamar CC due with Flash Drive|
|3/21 Begin Russell L. Butler II Memorial Competition||3/23 Class discussion|
|3/28 Russell L. Butler II Memorial Competition due – Begin FG precedents for residence landscape design||3/30 Begin residence site photography, site issues, and 3d model|
|4/4 Review of FGs, photos, site issues, and 3d model for residence – Begin landscape design||4/6 Discussion of models – Begin axons and character sketches|
|4/11 Review of residence axons and sketches– Begin urban design garden with three FG precedents and site photography||4/13 Review one figure ground of design analysis – continue design analysis and site photography|
|4/18 Review FG precedents, design analysis and site photography – Begin urban design garden 3d model||4/20 Discussion of models – continue design models|
|4/24 Review urban design model- Begin urban design garden 3d model||4/27 Review 3d model – Begin neighborhood connections (sections and elevations)|
|5/2 Review design connections – Begin digital axons and hand-drawn eye-level character sketches||5/4 Discussion – continue digital axons and hand-drawn eye-level character sketches|
|Project Review Week – We will meet date-time of the last exam for 362 (exam schedule 9-11:40 T-Th)|