Summer Term 2017 will be devoted to the exploration of design strategies within a significant mountain-river environment. As students of design, you will explore ideation and evaluation operations while assimilating the fundamental theories and methods of decision making for an extremely beautiful and sensitive river and mountain landscape. You will learn the history and philosophy of landscape planning, issues of perception of the natural and cultural landscapes, spatial analysis techniques, and digital design methods. Attention is focused on experiences which result in mastery of the sequential components of design; research, analysis, and synthesis. Landscape inventory, analysis and design methods are addressed in a series of discussions, project phases, and excursions. Design studio brings together and demands application of the entire content of the curriculum you have experienced to date. Learning landscape analysis and design theories and methods requires exploration of an integrated sequence of increasingly complex processes and case study situations. Case studies extend to contemporary precedents of the profession in analysis, design, and representation.
Strategies and Requirements:
Specific – Omnibus requirements consist of professionally relevant, daily project phases and a multimedia presentation. The phases will be due each day and the multimedia presentation will be due on the final Friday. With exception of the last week, there will be Tuesday field visits: to a renowned outdoor sculpture museum; to an iconic river and mountain landscape; and to field verify analysis and design ideas at the studio site. Due the first week will be design analyses of the program and precedents with figure grounds, sketches, and notes. Due the second week will be landscape form and character modeling. Due the third week will be ideation and design process works. Due the fourth week will be diagrams, illustrations, and drawings of the future environment and a multi-media presentation of the four weeks. This course will continue opportunity for major skill-building in a unique natural environment, integrating hand-drawn, hand-constructed, and digital applications and methods in your own evolving design processes.
Minimum requirement – please feel very free to do more. A clearly developed, artistically expressive, analysis and design for a landscape of attraction and interpretation, including entry landmark __ visitor center __ parking __ pedestrian and wildlife overpass __ walkways __ sculptures __ elevated overview structure __ plants __ landforms __ surficial geology.
Overall — 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 iterative solutions. Studio and Instagram 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 your own current project and to discuss your classmates’ projects each day. There will be a sequence of accessible minimum requirements – please feel very free to do more.
References: Field trips, in-class discussions, publications and online sources.
Although there are adequate studio computing facilities, it will help significantly in this and other courses if you have your own computer with Rhino, InDesign, Illustrator, Photoshop, iMovie, AutoCAD, and ArcGIS.
Scholarly Progress and Grades:
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, synthesis, 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. The possibility of a late project without reduction of grade is determined by the CSU catalog criteria of, “extenuating and unforeseen circumstances.” All interim phases and final projects, including original applications files, are needed on a USB thumb drive to receive a final grade. This includes posting phases and projects to Instagram.
” A ” Submittals are of distinctive thoroughness and quality and the student met the CSU attendance requirement.
” 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 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).
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 multimedia review.
This landscape architectural studio focuses learning on a design project comprised of a series of tasks centered on a design theme. It continues the process that requires 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.
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
|7/10 Intro – Design Analyses||7/11 Field – Photos, sketches||7/12 Figure grounds||7/13 Arc Competition||7/14 On-site icons|
|7/17 Review design analyses||7/18 Field trip – photos, sketches, analysis||7/19 Site analysis1 – landforms||7/20 Site analysis2 – vegetation||7/21 Site analysis3 – water|
|7/24 Review – Begin Draft concept plan||7/25 Field adjustments||7/26 Draft sections||7/27 Draft perspectives||7/28 Draft perspectives|
|7/31 Review drafts – Begin Final Sections||8/1 Final Master plan||8/2 Final Perspectives||8/3 One-min. multimedia||8/4 – Multimedia (10:30am)|