Autumn Term 2015 will be devoted to the exploration of ideation, design, and representation strategies for garden-scale environments. As students of design, you will explore and assimilate fundamental ideation and representation theories and methods. You will learn about the history and philosophy of garden design, issues of the natural and cultural landscape, analysis techniques, and digital and hand-drawn methods. Attention is focused on experiences which result in mastery of the sequential components of design; research, analysis, and synthesis. Methods are addressed in a series of discussions, projects, and excursions. Case studies extend to contemporary precedents of the profession in analysis, design, and representation. This research and knowledge of gardens and garden types will influence, guide and shape your design processes in your own garden designs. You will develop basic design processes, 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.
Studio Strategies and Requirements:
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. Requirements consist of a series of explorations of case studies, theories, and methods. The projects will be due on Mondays and Wednesdays. There will be expressed a sequence of accessible minimum requirements – please feel very free to do more. There will be field visits at exemplary landscapes in the region. Required 610 studio equipment and materials are available at the CSU Bookstore. Your individual studio spaces are in the west room of Natural and Environmental Sciences.
Academic Design School References:
Trieb, Marc. 2011 Meaning in Landscape Architecture and Gardens. Taylor and Francis
Catherine, Dee. 2001. Form and Fabric in Landscape Architecture: A visual Introduction, New York: Spoon Press.
Suggested Shared Library:
Francis, Mark and Hester, Randolph. 1991 The Meaning of Gardens. MIT Press
Hunt, John Dixon. 1992 Gardens and the Picturesque. MIT Press
Oehme, Wolfgang and Van Sweden, James. 2002 Architecture in the Garden. Random House
Pregill, Philip and Nancy Volkman. 1993 Landscape in History. New York: Van Nostrand Reinhold
Sullivan, Chip. 2002 Garden and Climate. McGraw‐Hill
Thacker, Christopher. 1979 The History of Gardens. University of California Press
Walker, Peter. 2005 Defining the Craft. Oro Editions
Walker, Peter and Simo, Melanie. 1996 Invisible Gardens. MIT Press
Walker, Peter. 1997 Minimalist Gardens. Spacemaker Press
http://www.asla.org/2010awards/ | http://www.asla.org/2009awards/ | http://www.branchplant.com/landscape/agoratheatre.html | http://www.vanalen.org/projects/competitions | AutoCAD fundamentals – http://cadtutor.com | Hand-built Models http://www.youtube.com/watch?v=47lD_XQ5ID8 http://www.youtube.com/watch?v=iV093Yo1Ab4 http://www.youtube.com/watch?v=hytDc_mtW-A |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 with Dreamweaver, InDesign, Illustrator, Photoshop, iMovie or MovieMaker, SketchUp, Google Earth, AutoCAD, Rhino, and ArcGIS.
Scholarly Progress and Grades:
Attendance is required. It is critically valuable for engagement of creative projects and for learning new ideation and representation skills.
All interim and final submittals are needed to receive a grade for the course.
” A ” Submittals are of distinctive thoroughness and quality.
” 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.
In order to conclude a relative distinctive thoroughness and quality, I consider the essential components of landscape architectural design values (Vitruvian principals): utilitas (function, usefulness, utility), firmitas (solidity, materiality, strength), and venustas (beauty, delight, desire).
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 1/8-scale models of form, on axonometrics at 1/8 scale, on eye-level drawings of form and character, on a written reflective summary of intent, and on the final amalgamation of projects.
This landscape architectural studio focuses learning on a series of design projects comprised of a series of tasks centered on a design theme. All design studio projects require students to analyze existing designs and propose an alternative, reflective 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 that 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 judgment 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.
|LAND 610 TOPICS IN GARDEN DESIGN – AUTUMN TERM 2015|
|8/24 Introduction – Begin self-portrait||8/26 Class discussion of your self-portrait – Begin installation|
|8/31 Class discussion of your installation – begin site analysis methods for two places||9/2 Review site issues – Begin figure grounds|
|9/7 Labor Day Holiday||9/9 Review figure grounds – Begin design for Modern Organic|
|9/14 Review of model for Modern Organic – Begin axon and eye-level sketch||9/16 Review axon and eye-level character sketch – Begin design for Agrarian|
|9/21 Review of model for Agrarian – Begin axon and eye-level sketch||9/23 Review axon and eye-level character sketch – Begin FG precedents for 2 concepts – Indigenous Plains and Indigenous Foothills|
|9/28 Review of FGs – Begin site issues for 2 places||9/31 Review site issues – Begin design for Indigenous Plains|
|10/5 Review of model for Indigenous Plains – Begin axon and eye-level sketch||10/7 Review axon and eye-level character sketch – Begin design for Indigenous Foothills|
|10/12 Review of model for Indigenous Foothills – Begin axon and eye-level sketch||10/14 Review axon and eye-level character sketch|
|10/19 Begin FG form precedents for 3 concepts||10/21 Class discussion of your first FG|
|10/26 Review FGs – Begin site issues for 3 places||10/28 Review site issues – Begin design for Commemorative|
|11/2 Review of model for Commemorative – Begin axon and eye-level sketch||11/4 Review axon and eye-level character sketch – Begin design for Moorish|
|11/9 Review of model for Moorish – Begin axon and eye-level sketch||11/11 Review axon and eye-level character sketch – Begin design for Zen|
|11/16 Review of model for Zen – Begin axon and eye-level sketch||11/19 Review axon and eye-level character sketch – Begin FG form precedents for Minimalist and site issues for Poudre River site|
|11/21 – 11/29 THANKSGIVING VACATION|
|11/30 Review FG form precedents for Minimalist and site issues for Poudre River – begin digital model for Minimalist||12/2 Class discussion|
|12/7 Review of digital model for Minimalist||12/9 Review digital axon and eye-level character sketch – Begin 5-8 minute multi-media of projects|
|Project Review Week – We will meet date-time of the CSU schedule for last exam for 610 (exam schedule 1-4:40 M-W)|
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