School of Architecture Fall 2007 Florida A&M ... - FAMU SOA Home
School of Architecture Fall 2007 Florida A&M ... - FAMU SOA Home
School of Architecture Fall 2007 Florida A&M ... - FAMU SOA Home
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<strong>School</strong> <strong>of</strong> <strong>Architecture</strong> <strong>Fall</strong> <strong>2007</strong><br />
<strong>Florida</strong> A&M University<br />
ARC 3324 Design 3.1 5 CR Mon Wed Fri 1:30-5:30 PM Third Floor Studio<br />
Instructors: Beth Lewis, Gretchen Miller, Enn Ots<br />
Course Description<br />
Context<br />
This semester we will focus on freestanding buildings on sites with significant natural and or man-made features. You will visit,<br />
document, and analyze local sites as part <strong>of</strong> the design process. In order for you to manage the range <strong>of</strong> issues that will be involved --<br />
from technical to aesthetic -- the buildings and settings will be relatively small, yet increasing in size and complexity as the term<br />
progresses.<br />
At this point in your architectural education you already have graphic skills sufficient to communicate at a basic level using the<br />
traditional media <strong>of</strong> drawing and modeling. We expect you to continue to improve in this regard. Clarity, legibility, and aesthetic<br />
appeal <strong>of</strong> your design products will always be a consideration, even in the beginning stages <strong>of</strong> a project. Verbal communication is<br />
important in architecture, not only because the creative process takes place on a verbal as well as visual level, but also because<br />
architects must communicate with others in great detail and with a high level <strong>of</strong> precision in the course <strong>of</strong> the conception and<br />
realization <strong>of</strong> a building. We expect you to exhibit facility in both written and spoken communication.<br />
Values<br />
We will expect you to engage us in meaningful discussion about values, because there is much difference <strong>of</strong> opinion, both within the<br />
pr<strong>of</strong>ession, and within the general public, about what constitutes good architecture. The clearer you can be about your own values<br />
and design intent, the easier it will be to have a meaningful discussion about your work. Build on what you have learned in previous<br />
design, theory, technology, and history courses. The assignments, exercises and projects for this studio will be coordinated with the<br />
other courses third year architecture students take concurrently such as architecture history, structures and computer skills.<br />
Design Emphases<br />
We will investigate how the formal geometry <strong>of</strong> built form meshes with existing context. It is expected that your designs will take<br />
advantage <strong>of</strong> the positive aspects <strong>of</strong> climate as well as work toward minimizing its adverse effects. User requirements <strong>of</strong> the sites and<br />
buildings are always important. In most cases the instructors will act as your clients, giving you the requirements for the hypothetical<br />
users for the particular project under investigation.<br />
You will investigate space and surface from both a technical and aesthetic perspective. In this regard, you will design with real<br />
materials in mind for both building skin and structure. Your designs must have geometry <strong>of</strong> structural support consistent with the<br />
materials and systems you are using. In some cases, we will limit your choice <strong>of</strong> systems to better aid you in this development. We<br />
are particularly interested in the distinctions and interactions between massive systems, such as masonry walls, with strong physical<br />
and psychological connections to the earth, and frame systems, with their inherent lightness and openness.<br />
The development <strong>of</strong> good places is important. Places have specific, memorable, characteristics that distinguish them from the<br />
general background noise <strong>of</strong> the environment at large. Good places are where people like to be, to pause, to be at rest, to be at ease.<br />
Good places <strong>of</strong>ten occur at the edges <strong>of</strong> activity, the edges <strong>of</strong> buildings, the interfaces between different natural systems, such as<br />
between land and water.<br />
Several ideas from your previous theory and design courses have special relevance to third year design -- especially pragmatic design,<br />
phenomenology, and green architecture. The use <strong>of</strong> precedent will also be an important part <strong>of</strong> the design exercises undertaken. It<br />
consists <strong>of</strong> lessons from the past that are worthy <strong>of</strong> study and emulation (Iconic design process). We can talk <strong>of</strong> precedent in terms <strong>of</strong><br />
a theoretical idea, a process, a physical or intellectual system, or a building. There are good design precedents in all the topic areas<br />
covered by this course. It is important that you study such examples, both ones presented by the instructors and ones you discover<br />
yourself, and use their lessons in your own designs.<br />
The idea <strong>of</strong> "system" infuses this discussion and is inherent in architecture and building. A system has logic, a set <strong>of</strong> principles that<br />
give it structure and make it work. In this course we are particularly interested in the physical ordering systems that govern the form<br />
<strong>of</strong> buildings, ranging from structural systems, to the movement <strong>of</strong> the earth and how it affects light, weather, and the biosphere.<br />
There are <strong>of</strong>ten conflicts among the requirements <strong>of</strong> the different systems, and an important task <strong>of</strong> the architect is to resolve these<br />
conflicts with as little compromise to each system as possible. Much <strong>of</strong> the creativity in making good architecture involves bringing all<br />
these systems together in a harmonious, even elegant, way. Every building is unique, because it is located in a unique place at a<br />
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unique moment in time. You, as a unique individual, bring your own talents and views to a project. So no matter how many restrictions<br />
a design project has, there are always opportunities to be creative, to make a unique design. Remember that architecture is a social art<br />
requiring you to balance your own ego against the needs <strong>of</strong> the people (and animals and plants) that will be affected by your design<br />
decisions. The ethics <strong>of</strong> design is not a trivial concern.<br />
Design Process<br />
Making good architecture is an intense endeavor, even for the most skilled designers. Most good design evolves from a series <strong>of</strong><br />
solutions that become more resolved (fewer conflicts, more harmony among the requirements <strong>of</strong> the design) with each succeeding<br />
solution. Students do not easily embrace this idea <strong>of</strong> an iterative, cyclical, process <strong>of</strong> design. This seems to be because your past<br />
academic experience has mostly involved doing an assignment once, handing it in, and moving on to something else. This is not how<br />
architecture is created, so in this course, you will definitely be required to work in an iterative way. It is extremely important, if you<br />
really want to be an architect, to learn all the lessons this course has to teach. A building that has a great spatial configuration but no<br />
structure to hold it in place is not architecture.<br />
What we ask you, as students in an educational setting, to do is reach a level <strong>of</strong> completion roughly comparable to what is usually<br />
achieved in architectural practice within a few days -- that is, the preliminary design level. At this level, space and building form,<br />
including the general form <strong>of</strong> the systems <strong>of</strong> support, materials, and service are delineated. Often, selected important details <strong>of</strong><br />
construction are also explored.<br />
Contemporary architectural practice is usually a team endeavor, wherein people with different levels <strong>of</strong> experience and different areas<br />
<strong>of</strong> expertise collaborate closely. In school, this is more difficult, partly because all <strong>of</strong> you have roughly the same experience and skill<br />
level. In this course you will sometimes work together to develop background material for a project and you will meet in small groups<br />
to review and comment on each other's work. Learning through these group settings is an important component <strong>of</strong> the studio.<br />
NAAB Student Performance Criteria to be met by Design 3.1:<br />
12. Human behavior<br />
Understanding <strong>of</strong> the theories and methods <strong>of</strong> inquiry that seek to clarify the relationship between human behavior and the<br />
physical environment.<br />
14. Accessibility<br />
Ability to design both site and building to accommodate individuals with varying physical abilities<br />
15. Site Conditions<br />
Ability to respond to natural and built site characteristics in the development <strong>of</strong> a program and design <strong>of</strong> a project<br />
Additionally, the course will touch on the following:<br />
• Research Skills<br />
• Critical Thinking Skills<br />
• Fundamental Design Skills<br />
• Collaborative Skills<br />
• Structural Systems<br />
• Environmental Systems<br />
• Building Envelope Systems<br />
At the end <strong>of</strong> the semester you are required to submit a brief 3.1 design portfolio (4 – 6 pages) that demonstrates achievement <strong>of</strong> the<br />
above performance criteria as well as a CD documenting your semester work.<br />
Design Media<br />
Designing involves the almost simultaneous use <strong>of</strong> many media to search for form through the exploration <strong>of</strong> the boundaries and<br />
conflicts inherent in the given project. The particular sequence <strong>of</strong> media use and emphasis will vary with the designer and project.<br />
Buildings and their settings are primarily three-dimensional. Accordingly, your design process will rely heavily on making models and<br />
drawing perspectives, axonometric drawings, and sections. You will work to scale, even in the earliest stages <strong>of</strong> a design project.<br />
Thus, in Design 3.1 we expect the emphasis to be upon drawing and physical models, rather than CAAD.<br />
Course Required Textbook<br />
Building Construction Illustrated, Francis D. K. Ching ISBN 0471358983<br />
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Course Recommended and Reserve Textbooks<br />
The Architect's Studio Companion (3rd Ed.) Allen and Iano (will be required for Design 3.2)<br />
Design-Tech: Building Science for Architects, Jason Alread and Thomas Leslie, ISBN 0-7506-6557-2<br />
The Green Studio Handbook, Alison G. Kwok and Walter T. Grondzik, ISBN 0-7506-8022-9<br />
Design Drawing, Francis D. K. Ching ISBN 0442019092<br />
Form, Space and Order, Francis D. K. Ching ISBN 0442017928<br />
Architectural Graphic Standards Student Edition ISBN 0471348171<br />
Archispeak: An Illustrated Guide to Architectural Terms. Tom Porter. ISBN 0-415-30012-6<br />
Sun, Wind and Light: Architectural Design Strategies, G. Z. Brown and Mark DeKay ISBN 0471348775<br />
From time to time we will also put materials on reserve in the architecture library or post in the studio. These required readings will<br />
cover topics from aesthetics to technics relevant to the current design project.<br />
Logistics and Scheduling<br />
The first hour or two <strong>of</strong> Wednesday class will be devoted to a lecture, discussion, and/or an in-class exercise in the studio or a lecture<br />
or conference room. In-class exercises will be related to the current design project and will focus on required skill development,<br />
technical and theoretical issues.<br />
Students are required to be in class and working for the entire four hours <strong>of</strong> scheduled studio time, unless specifically told otherwise.<br />
Attendance will be taken at the beginning <strong>of</strong> class, and if shown to be necessary, at the end <strong>of</strong> class. Studio participation is a key part<br />
<strong>of</strong> course evaluation and your attendance, preparedness, and diligence will affect your course grade.<br />
You must have a workable drafting setup in studio even if you plan to work at home outside <strong>of</strong> class time. We strongly encourage you<br />
to make the studio your primary study environment as this creates the opportunity to learn from each other. The open studio<br />
arrangement on which the school is based is designed to encourage interaction across the year levels <strong>of</strong> the school. The fourth-year,<br />
fifth-year, and graduate students can be a valuable resource for many skills and ideas.<br />
A drawback <strong>of</strong> the open studios is that noise can easily travel from space to space. In deference to the others in the <strong>School</strong> <strong>of</strong><br />
<strong>Architecture</strong> community, no loud talking or music is allowed. Use headphones if you want to listen to music. Do not disrupt or walk<br />
through other class meetings that are occurring in the <strong>School</strong> -- use common sense and courtesy. As with all your other classes,<br />
please turn all cell phones <strong>of</strong>f during studio. Unless it is an emergency, your incoming and outgoing calls can wait until studio time is<br />
over.<br />
Several class meetings will occur on sites located within Tallahassee but <strong>of</strong>f campus. Participation in such meetings is mandatory and<br />
transportation must be arranged individually or in groups. A studio field trip <strong>of</strong> several days duration is a possibility and participation will<br />
be mandatory for all students.<br />
Working with your Instructor<br />
It is to your benefit to actively seek out our help and take seriously the advice we give you. Our goal is to help you become the best<br />
designer you can be. If we point out weaknesses in your design, do not feel that we think less <strong>of</strong> you as a person. If you want us to<br />
help you, you have to be brutally honest with yourself and admit when you don't understand something or when you need help. The<br />
faster you make the mistakes that every novice designer makes; the faster you will become skilled.<br />
Le Corbusier stated that "creativity is a patient search." Searching involves uncertainty, and the searcher must be prepared to take<br />
some risks and to explore promising leads without complete certainty as to where they will lead. One <strong>of</strong> the best ways to avoid the<br />
anxiety associated with this search is to explore systematically, and documenting in a legible way the various alternative paths you<br />
have explored. With several alternatives evident, class discussions about your design will focus on the relative merits <strong>of</strong> your<br />
alternatives. A review will seem more an evaluation <strong>of</strong> your work, rather than <strong>of</strong> you personally. Using this approach you will learn to<br />
critically evaluate your own work and to be your best/worst critic. The true artist will smash the pot that does not meet his or her high<br />
standards.<br />
University ADA Statement<br />
It is the policy <strong>of</strong> <strong>Florida</strong> A&M University to assure that each member <strong>of</strong> the University community be permitted to work or attend<br />
classes in an environment free from any form <strong>of</strong> discrimination including race, creed, color, age, disability, sex, martial status, national<br />
origin, veteran status and sexual harassment as prohibited by State and Federal statues. This shall include applicants for admission to<br />
the University and employment.<br />
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Questions concerning this policy and procedures for filing complaints under the policy should be directed to: University EOP Officer,<br />
Equal Opportunity Programs, 401 Lee Hall, Tallahassee, FL 32307, (850) 599-3076<br />
Course Evaluation<br />
Assignments will be given letter grades, augmented by plus and minus as appropriate, based on the following criteria:<br />
A: Project requirements complete, exceptional quality in terms <strong>of</strong> graphic presentation, participation, effort expended, design process,<br />
and design resolution.<br />
B: Project requirements complete, most graded aspects <strong>of</strong> project (participation, effort, process, presentation, design) are <strong>of</strong> high<br />
quality with no aspects <strong>of</strong> less than average quality.<br />
C: Project requirements complete (or nearly so with no major omissions); most aspects <strong>of</strong> project <strong>of</strong> average quality; some aspects<br />
below average.<br />
D: Project incomplete with major weakness in any <strong>of</strong> the graded aspects <strong>of</strong> the project.<br />
F: Project incomplete in major ways or most graded aspects <strong>of</strong> the project exhibit major weakness, or the project/assignment is not<br />
turned in on time.<br />
Your grade for the course will be based not only on the in-class exercise grades, and the project grades, but also on your attitude,<br />
participation in group activities, use <strong>of</strong> class time, and response to instructor review and commentary. The rough schedule <strong>of</strong> projects<br />
and estimated weights <strong>of</strong> the semester is shown below:<br />
Project one: 15% 2 weeks<br />
Project two: 30% 5 weeks<br />
Project three: 40% 7 week<br />
Participation 15% (over entire 14 weeks)<br />
Total 100%<br />
As an integral part <strong>of</strong> project three, we will be taking a field trip. We intend to travel by bus to Atlanta, Chattanooga, Cincinnati and<br />
Columbus leaving on Thursday, October 18th and returning on Sunday, October 21st. Students will be responsible for hotel room<br />
charges and the admission fees for the museums we will be visiting. Information regarding the cost will be available as soon as it is<br />
known. This is a required field trip and will be a part <strong>of</strong> your grade for the third project, and thus the course.<br />
The participation grade includes in-class exercises, class participation, attendance, effort and improvement. We expect you to be on<br />
time for all classes and to be productively engaged during the entire class period. University regulations allow five unexcused<br />
absences for this class. You may be administratively dropped from the class with a failing grade if you exceed this number. Excused<br />
absences must be documented. If you fail to show up within the first half-hour <strong>of</strong> the class without a valid excuse, you will be<br />
considered absent for the day. Experience shows that lack <strong>of</strong> engagement (absences and failure to keep up with assignments) is the<br />
most common reason for poor class performance.<br />
From time to time course updates and progress grades will be posted on your <strong>FAMU</strong> web site. It is your responsibility to check the site<br />
prior to each class.<br />
Course Contacts<br />
Contact information for the course instructors is as follows:<br />
Beth Lewis<br />
Enn Ots<br />
Gretchen Miller<br />
B – 310 <strong>Architecture</strong> Building, 599-3163 Office hours: MWF: 11:00 AM – 12:00 PM, others by appt.<br />
elizabeth.lewis@famu.edu or Elizabeth.lewis1@yahoo.com<br />
B - 318 <strong>Architecture</strong> Building, 599-3845 Office hours MWF: 10:00 – 11:00 AM, others by appt.<br />
enn.ots@famu.edu or ennu@aol.com<br />
B – 222 <strong>Architecture</strong> Building, 599-3979 Office hours: MWF: By appointment.<br />
grem311@hotmail.com<br />
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