Prerequisite: ARCH 121. This course builds on the principles and skills taught in ARCH 121 and provides students will an understanding and ability to use digital design techniques and processes to develop and represent architectural projects. The course focuses on foundational 3D modeling software, simulation, digital fabrication methods, and hybrid hand/digital processes. Students will also be introduced to the basics of Building Information Modeling software. Offered spring semester.
This course builds on principles taught in ARCH 213, focusing on digital skills and processes that enhance communication techniques. A range of integrative representation techniques and principles will be explored through a variety of 2-D and 3-D software programs. Offered spring semester. Prerequisite: ARCH 213. Co-requisite: ARCH 214.
You will learn the development of design skills utilizing modern digital techniques to inform you design thinking, and that are used in the professional working environment.
Student learning outcomes:
Learn to use the computer to stretch design skills, development new design techniques, and acquire experience in digital representation.
Student Performance Criteria (NAAB SPC):
Primary:
· A.3. Visual Communication Skills
· A.6. Fundamental Design Skills
Secondary:
· A.2. Design Thinking Skills
· B.3. Sustainability
· A.4. Technical Documentation
Content:
Time for something totally different!!! This class has received a new set of numbers (ARCH 222, formerly, ARCH 225) and as such, I have revised all the content for this class – specifically, it is going to line up with delivering architecture to clients, leveraging all of the learning content that the introduction to digital design and architecture would typically entail – but adding on a layer of doing good, and creating something for others to experience.
Specifically speaking:
Have you ever spent time confined, away from the freedom of exploration, situated in a space that becomes mundane, dull, building a literal sensation of weight upon your body? Most of us can probably imagine a time, probably brief, where we began to experience this reality. As designers, we have the ability to create space that uplifts, engages, and elevates the human spirit – I truly believe this, it is one of the reasons why I teach. Until recently however, we have not had the ability to bring our spaces to those often the most in need of escaping their current spatial reality, those with a debilitating pain, illness, or addiction. What if, even if just for a few minutes, we could lift someone out of their current space, and put them into something spectacular, crafting an emotional displacement using our skills as architects. Even more, what if we could teach a bit, share what we love, and create something that extends those “few minutes” to a few hours with a physical attachment to a memory.
We can build convincing volumetric spaces that become physically tangible using 3d modeling software, realtime animation, and virtual reality. We can deliver physical representation of those spaces through desktop fabrication. We can use the ability that you are crafting as designers to control the sequence, explanation, immersion, and sense of play to literally (not virtually) heal humans. We are embarking this semester on projects that will transport people from their confinement into amazing architectural spaces – promoting a sense of wonder, exploration, escapism, and in turn improved wellness.
Phase one:
Lottery (working list - for the final and your assigned precedent see:
https://sites.google.com/view/hsa-arch-222-20/precedents
1. Falling Water - Frank Lloyd Wright
2. Taliesin West - Frank Lloyd Wright
3. Villa Savoye - Le Corbusier
4. Mill Owners' Association Building - Le Corbusier
5. Maison La Roche-Jeanneret - Le Corbusier
6. Schroeder House - Gerrit Thomas Rietveld
7. Barcelona Pavilion - Mies van der Rohe
8. Farnsworth House - Mies van der Rohe
9. Villa Mairea - Alvar Aalto
10. Muuratsalo Experimental House - Alvar Aalto
11. Kimbell Art Museum - Louis Kahn
12. Yale Art Center - Louis Kahn
13. Eames House - Charles Eames
14. Palacio da Alvorada - Oscar Niemeyer
15. Tadao Ando – Church of the Light
16. Tadao Ando – Pulitzer Art Foundation
17. Renzo Piano – Kimbell Art Addition
18. Renzo Piano – Stavros Niarchos Foundation Cultural Centre (portion)
19. Judith Chafee – Ramada House
20. Lino Bo Bardi – Casa de Vidro
21. Lino Bo Bardi – MASP, Sao Paulo
22. Amale Andraos – Kew Gardens Library
23. Momoyo Kaijima – BMW Goggenheim Lab
24. Momoyo Kaijima – Sway House
25. Momoyo Kaijima – Nora House
26. Sharon Davis – The Davis House
27. Sharon Davis – The Women’s Opportunity Center
28. Shahira Fahmy – Pyramids Heights Residence
29. Shahira Fahmy – Block 36
30. Amanda Levete – Pitch/Pitch
31. Kazuyo Sejima – Shibaura House
32. Kazuyo Sejima – Grace Farms Foundation Centre
33. Elizabeth Diller – Institute of Contemporary Art
34. Elizabeth Diller – Forum Building – University of Chicago
35. Frida Escobedo – Cultural Center La Tallera Siqueiros in Cuernavaca
36. Frida Escobedo – Casa Negra
37. Steven Holl – Planar House
38. Steven Holl – University of Iowa Art Building
39. Titiana Bilbao – Botanical Gardens
40. Titiana Bilbao - Ajijic
41. Deborah Berke – Sackett Hill House
42. Deborah Berke – Quinta da Baroneza Residence
43. Jeanne Gang – Writers Theatre
44. Jeanne Gang – Arcus Center for Social Justice Leadership
45. Sandra Barclay – Site Museum of Paracas Culture
**Note: I am going to be running this project over multiple semesters. As such, this list is going to grow and expand as projects get eliminated. If you have another project in mind, you may submit one for replacement. I will maintain absolute veto power on the project, as there are forms, complexities, and scales that WILL NOT WORK for this project and the learning objectives of this class. In particular, large scale buildings (including high rise structures) and wildly complicated curvilinear or organic forms are not on the list. They are totally possible, but not in an introductory level class, and may not be suitable for use as a medical VR project.
Content:
This course will be an introductory course for several programs (Photoshop, FormIt, Revit, Rhino, Premiere and Twinmotion). We will be diving a bit deeper into Revit as a core tool for architectural modeling, and technical communication, and Twinmotion for artistic (rendering) and spatial (animation and VR) communication. Ultimately, learning software(s) are like learning languages. Collectively there are some common elements (like Latin roots) that will build your knowledge and confidence in a large variety of programs. Some software you will pick up quickly and easily, some is going to take time to wrap your head around and feel confident with. All of it is used to communicate your ideas – how and when you use software will become based on your fluidity of thought and connection to software you are using. You should never be in a situation where you find yourself exclusively using digital technology, and if you try to live in an only analogue world, you will find yourself not fully developing completion in your work.
Grading:
Assignments will be 90% of your grade. The key assignments will be in the form of either web site, or print and web site submissions. Paper is still relevant (for now), and pushing files out from the computer (digital) into reality (analog) is a skill to learn. 10% of your grade will be based on participation, attendance, working as a collective team on individual projects (help those around you!!), and your willingness to dive into a project that builds on the collective good that architecture can accomplish.
All assignments will be evaluated on the criteria provided in the assignment.
Scale:
All of Drury’s policies as indicated in your University Handbook will be applied to this course. As your instructor, I use the internet on a regular basis to leverage our work when required. I know most of the databases for digital content for the software used in this course. Learn the software, make great inspired digital content – I will know every corner you cut, and will consider the un-approved use of content an infraction that will be submitted to the University for prosecution…be honest and work hard.
Professionalism:
I will be available to openly discuss your grade throughout the semester. If you have concerns about your marks, discuss them directly with me.
Professionalism is a requirement, and will impact your grade. Lost work through computer or human malfunction is common!! In the professional world, no one has sympathy for the file that was accidentally erased, or the computer that crashed and corrupted all work. It is our job as your instructors to prepare you for this environment, as such, we will not have sympathy for lost work through computer or human malfunction. Have your assignment ready, have it done on time, and be on time to class on a daily basis. Late assignments will count as incomplete and the score will be adjusted accordingly unless arrangements have been made prior to the assignment due date. Being late for class will count as an absence, and all excused absences are an individual matter between professor and student. Each unexcused absence will result in a 3% point drop in your grade after two class misses – typically a new topic almost every day in this class, your attendance is necessary for your success.
In the event that an emergency occurs and you are unable to turn in an assignment on time, please contact me before the assignment is due. Substantial deductions will be assessed to late work. Note: Emergency in this class will have a slightly different definition than other classes. Specifically, a digital emergency can be equated to the general “what the HELL” inducing moments that can be generated by working on a computer. You will lose files, you will misplace files, you will click the wrong button…all things that happen in learning a digital workflow. These are all emergencies in 222…do not allow these emergencies to keep you awake all night before a due date. Drop me a note and then get some rest. We will work through the processes, extension, and a late submission on the work. I do not want you to compromise an important learning opportunity for the sake of completion – time will be given to resolve, correct, and learn!
Disability Support Services
To request academic accommodations for a disability, please contact Ed Derr, Director of Counseling and Disability Support Services, 417-873-7457; ederr@drury.edu. Students are required to provide documentation of their disability to the Disability Support Services Office prior to receiving accommodations.
Academic and Creative Integrity
If you use the ideas, words, images, or designs of others as if they were your own, you are committing plagiarism, which is at its core dishonest, unethical, and unacceptable in any academic or professional setting. Plagiarism can be avoided by properly crediting sources and openly discussing creative influence and critical appropriation of ideas, images, and designs. Plagiarism in this course will be penalized severely, and may result in a failing grade. In accordance with university policy, all cases of plagiarism will be reported to university and school administration. All students should be familiar with the HSA Policy on Academic and Creative Integrity: http://www.drury.edu/architecture/academic-and-creative-honesty-policy
Out of respect to the student and because of the Buckley Amendment, under no circumstances will we discuss your grades with anyone other than yourself. Typically, grades will be distributed via email. There is the potential that an error in the email process may send the wrong grade to the wrong student, or reveal a grade unintentionally. If this happens, please notify the instructor immediately so that we may resolve the problem. We do not anticipate this ever happening, but apologize in advance in advance in the off chance that an error occurs.
This class is also an inappropriate time to check your email, update your facebook / Instagram / Yaddayaddayadda status, text message, or otherwise be distracted by the technology surrounding you other than putting it to good use to become a better designer. If this becomes an issue the instructor reserves the right to have the repeat offender's grade affected through attendance - if you are not paying attention, you are not truly in attendance of the class. Simple solution - when you are in class I expect you to be applying all of your energy and focus to the work at hand.
Your work can be stored on the campus server; however, the file location is not always secure, and any file can be deleted. Therefore, I strongly recommend the use of an external storage device. You will regret relying on an open computer network where anyone can delete or tamper with your files. You will need to have either an external hard drive, USB Flash Drive (which are inexpensive, but VERY UNRELIABLE), or another storage device of your choice. You will want to use your Microsoft Cloud storage (or some other type of "cloud" system) for backups of all work, and to coordinate all assignments and files with this course.
Foods:
Nope. They are not allowed in the lab…so just nope.
Title IX Responsibilities of Faculty:
Drury University faculty are committed to supporting our students, upholding gender equity laws as outlined by Title IX, and fostering a learning and working environment based on mutual respect. If you choose to confide in a member of Drury’s faculty regarding an issue of sexual misconduct, that faculty member is obligated to report the basic facts of the incident to Drury’s Title IX Coordinator. The Title IX Coordinator will provide you with information regarding your rights and options, as well as possible resources both on and off campus. For information about your options at Drury, please go to: http://www.drury.edu/hr/Title-IX-Policies-and-Resources/
Required Supplies:
Texts:
There are no text books required for the class - but i would recommend purchasing a more technical reference book for Revit 2020. You can find several off of Amazon, and they will give you a more tech approach to utilizing Revit – which will be closer to how an office employs the software. We are going to take a design approach, less technical, to using the software. In my opinion, this is the best way to learn the software…but we will not be covering many of the “production” utilities in the software which are very relevant to practice.
In general, I don't require a text because in two to three years all texts are outdated when it comes to technology. You are entering into a world of constant research, learning, and exploration if you want to be on the cutting edge of digital design (and it is imperative to do your job well that you are on the cutting edge of digital design). You need to book mark this class website, as it will be continually updated with new resources, videos, and information to help you complete your assignments - this site will be your primary resource for the class. You also need to become very adapt at finding techniques and methods from YouTube - it is an AMAZING resource for digital design techniques...and no, we will not have time to cover everything in one three hour class. Research and dig!!! It is good for your soul.
Being Good:
While your work will be judged on an individual basis, we readily acknowledge that the interface between person and computer can be, at times, difficult to bear. Be nice to each other, help, collaborate, share techniques and tips. As your professors, we will notice this level of effort and reward it. Help us move together as class creating great design and inspired architecture. Thanks!
Sincerely,
-dave.
As you know, the class is changing significantly over the remainder of the semester, so there are a few items that need to be resolved on the syllabus to reflect these changes: