B+C A. Architectural and Visual Tools for Learning to Un-Dō

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B+C A Barnard + Columbia Architecture Barnard and Columbia Colleges Architecture Department Instructor: Marcelo López-Dinardi Term/Course: Spring 2015 / ARCH V 1020 Introduction to Architectural

1 B+C A Barnard + Columbia Architecture Barnard and Columbia Colleges Architecture Department Instructor: Marcelo López-Dinardi Term/Course: Spring 2015 / ARCH V 1020 Introduction to Architectural Design and Visual Culture - Sec. 001 Hours/Room: Tu-Th 9:00-10:50am / 116B Lewisohn Hall Office Hours: Diana Center 500H by appointment mlopez@barnard.edu TA: Tola Oniyangi (sio2106@barnard.edu) Prerequisites: Non-majors in architecture, attend first class. Slow House Drawing, Diller + Scofidio, 1990 Oskar Schlemmer, Performance, Bauhaus, 1920 Architectural and Visual Tools for Learning to Un-Dō Everything began with objects, yet there is no longer a system of objects. The critique of objects was based on signs saturated with meaning, along with their phantasies and unconscious logic as well as their prestigious differential logic. Jean Baudrillard, The Ecstasy of Communication Architecture is a key component of our built environment in many ways. Its presence glosses entire cities, but the building, perhaps the main feature of architecture, is not the sole figure within this complex scenario. Architecture is the design that surrounds us, but also the relations between our hand-size design objects and our city-wide aspirations. Architecture is part of a larger cultural apparatus, and it is a character that both interacts and creates a wide mode of social forms of engagement. Architecture is design and simultaneously the dialogue to the culture that is contained within and outside of it. Architecture is both the visible and the invisible that encompasses culture, and the ideas and concepts that produce it, visually and conceptually. This course will take the form of an architectural studio, New York City will provide the background to develop our projects, and it will also be the place where we develop our sketchbooks, understand architecture and visual culture with concrete examples, and where we will contest our reading assignments. studio: a. the building or room where an artist works b. a place where people go to learn, practice, or study an art (such as singing, dancing, or acting) c. a place where movies are made As such, this course should be conceived as a studio. In definition, a studio is whatever room or building where and artist, and architect, a musician, and actor, performs her or his duties. But also a studio is a place for experimentation, for learning, for practicing, for doing and redoing until you get to a desirable outcome. A studio is also the space for making things, to

2 draw, to model, to argue, test and contest your own ideas. Our studio will be the university, as well as the city, and the spaces and times in between them. Architecture and visual culture are in continuous dialogues with system of objects, of physical, virtual, conceptual and cultural objects. Following Jean Baudrillard assertion that there is no clear system of objects that are capable of containing the meaning they were assigned, we will create our own system of understanding and awareness of our built environment. In this course we will work in analytical terms to make things visible. By making things visible we are referring to exposing what could be the invisible systems or orders of objects and events in daily life, ranging from the scale of our body (awareness), to the scale of the city (understanding). A system of order implies the identification of rules and limits, of constraints, and of defining an argument for the construction of a consistent visualizing apparatus. For the course exercises and projects we will consider the following concepts as reference to nurture our analytical thinking: Design as system, mapping, discovery and research process, visibility (cutting, peeling, smashing, juxtaposing, overlaying, dislocating, reflecting, placing, positioning, locating, revealing), Diagrams, Space, Program, Methods, Critique, Operations, Projections, Time, Translation and Communication. This introductory studio course for non-majors approaches design as an analytical, representational and productive tool. Emphasis will be made on the development of a methodology for creating systems of orders for making things visible. Students are encourage to experiment with various modes of representation (photographic collage, sketching, orthographic drawing, physical models) to translate their ideas into a visualization piece. Student Learning Objectives 1. Visually communicate architectural concepts and design intent using discipline-specific techniques including: - orthographic projections (plans, elevations, sections), - paraline projections (axonometrics, isometrics), - physical models using various techniques and materials, - multiple media and/or combined representational strategies 2. Verbally communicate architectural research methods and spatial concepts 3. Demonstrate an understanding of precedent and site analysis 4. Demonstrate an understanding of design method as a step-by-step, iterative and incremental process of research, synthesis and feedback 5. Demonstrate an understanding of design thinking as responsive to and shaper of social and cultural context 6. Demonstrate the ability to work independently and collaboratively Projects During the course of the semester we will develop a series of exercises that will constitute a larger project when consider together. This is, all work will be accumulative, we will build up a body of work mostly by drawing (hand and technically), modeling physical objects and creating mixed media presentations. Exercises will be assigned independently during the semester as shown on the schedule. The projects will be assigned as per the schedule, titles include: The Practice of Everyday Life: A Self Notational System, Making a Spatial Construction/Drawing a Spatial Construction, Embodying the Body and Place Intervention. We will discuss the work of artists and architects to expand the references for our own work, will include figures such as: Julie Mehretu, Louis Kahn, Sol Lewitt, Gordon Matta-Clark, Constant Nieuwenhuys, OMA, Bernard Tschumi, Morphosis, Lebbeus Woods, Haus- Rucker Co, among many others. Requirements Readings: The readings will be chosen from the attached bibliography (for general reference) and it is essential that they are completed in order to have a productive discussion in class. It is necessary that the students demonstrate through the class debates their understanding and analytical capacity. Specific readings assignments will be scheduled per project. Readings will be provided by the instructor as a PDF file available through Courseworks. Students are responsible for checking into Courseworks to look up the readings. Sketchbook: Students are required to keep a sketchbook (white sheets, letter size) with annotations, drawings, and notes, as a record of the assigned exercises and readings.

3 Events: During the course of the trimester we could coordinate activities that can include visits to: exhibitions, talks, lectures, projects, juries, movies and cultural events in general. Some will be arrange during our class period, however, other could be scheduled out of our class hours, students will not be penalized for not assisting, but everyone is encouraged to make the proper arrangements to be able to attend. Attendance: Attendance to the course is required and compulsory to all course sessions. Absences will only be valid under mandatory health or religious conditions. All absences should be notified to the instructor in advance as permitted by each case. If a students is absent three times, she/he will be considered dropped from the class. Three late arrivals (more than 15 minutes) will be considered as one absence. Please be on time. Depending on the students performance, the instructor may arrange additional visits to the studio if required by the students. Evaluations Student will be evaluated on their own capacity to fulfill the course goals, not only requirements. Working in this field goes beyond completing the requirements, it implies a stronger engaging with the given material and a passion to accomplish things. Students need to develop their critical thinking skills, analytical comprehension, and rigor in the process of making the projects. These exercises are based not only on a final product, they are based on a daily progression and evolution of the work, on a process. It is crucial that all students work rigorously to develop strong means of production, the more rigor, the more you will be able to work independently and consistently. Each exercise will comprise a percentage of the final grade, however, the three main components for grading are the Mid-Term Review, the Final Review, and Content/Process (which includes daily work and the development of ideas). Student will be given a letter grade following the University s conventions. Students should read and familiarize with the Honor Code and Academic Integrity of both Barnard + Columbia Colleges. Tools & Supplies - Portable drafting board with parallel ruler included 18 x 24 *Alternative 1/8 white board and 24 T-square - with plastic edge - Cutting surface (cutting board or 30 x 40 piece of 1/8 chipboard) - 24 stainless steel straight edge ruler with cork bottom - 8 or 10 30/60/45 degree adjustable triangle (pencil drawing) - 8 or 10 30/60/45 degree adjustable triangle (*ink drawing in case needed) Lead Holder / Lead Pointer Pencil Sharpener X-acto knife with #11 blades (100 blades package convenient) 6-sided architectural scale (avoid metal ones, wood or plastic is preferred) Digital camera or camera phone Drafting Leads (4B, 2B, HB, F, H, 2H, 4H) Sketching Pencils - (4B, 2B, HB) Black permanent markers (Sharpie and/or Pentel) White pencil eraser 12 roll of white or buff colored tracing paper White glue (Sobo or equivalent) / UHU glue stick Masking tape / artist tape / Scotch tape Sketch book (letter size)*** Tools and supplies will be required at different times, do not purchase all in advance. Stores: - Janoff s 2870 Broadway (close to campus) - Utretch and/or Blick art supplies (locations varies)

4 Class Schedule Month Day Remarks January 19 - Tu Introduction / Exercise 1 and First Reading assigned January 21 - Th Reading and Exercise 1 Group Discussion January 26 - Tu Pin-Up January 28 - Th Desk-Crit February 02 - Tu Exercise 1 Due - Pin-Up / Exercise 2 assigned February 04 - Th Group Discussion February 09 - Tu Pin-Up February 11 - Th Desk-Crit February 16 - Tu Exercise 2 Due - Pin-Up / Exercise 3 assigned February 18 - Th Group Discussion February 23 - Tu Desk-Crit February 25 - Th Desk-Crit March 01 - Tu Pin-Up March 03 - Th Desk-Crit March 08 - Tu Desk-Crit March 10 - Th Mid-Term Review - Exercise 3 Due March 15 - Tu Spring Break - No Classes March 17 - Th Spring Break - No Classes March 22 - Tu Exercise 4 assigned March 24 - Th Group Discussion March 29 - Tu Desk-Crit March 31 - Th Desk-Crit April 05 - Tu Exercise 4 Due - Pin-Up / Exercise 5 assigned April 07 - Th Group Discussion April 12 - Tu Desk-Crit April 14 - Th Desk-Crit April 19 - Tu Desk-Crit April 22 - Th Pin-Up Preliminary Review April 26 - Tu Desk-Crit / Final Production April 28 - Th Final Review - Exercise 5 Due May 03 - Tu Final Review - Exercise 5 Due (alternate date) *Schedule is subject to change depending on the studio progress. Any in-advance known health or religious absence should be notified to the instructor during the first week of class or as soon as possible. Bibliography (general reference) The following bibliography serves as general reference for the class. Readings and assignment will be posted to Courseworks. Jean Baudrillard, The Ecstasy of Communication (Los Angeles: Semiotext(e), 2007): Casabella , Various Authors, The City as an Artifact, Introduction, The Institute for Architecture and Urban Studies, Cultural Debate: Existing Situation ( Learning From Pop by Denise Scott Brown and America Notes on Urban Images and Theory by Kenneth Frampton), A Dialectical Aspect: The City as an Artifact ( Notes on Conceptual Architecture: Towards a Definition by Peter Eisenman), II. Manhattan: Capital of the Twentieth Century by Emilio Ambasz. Ulrich Conrads ed, Program and Manifestoes on 20th-Century Architecture (The MIT Press: Cambridge MA, 1970) Selected Writings: 1908 Adolf Loos: Ornament and Crime, 1918 Bruno Taut: A programme for architecture, 1923 Ludwig Mies Van der Rohe: Working theses, 1926 Frederick Kiesler: Space City architecture, 1926 Le Corbusier/Pierre Jeanneret: Five points towards a new architecture, 1960 Situationists : International Manifesto, 1961 R. Buckminster Fuller: The architect as world planner (excerpt)

5 Hubert Damisch, The Manhattan Transfer, in Jacques Lucan OMA-Rem Koolhaas Architecture (New York: Princeton Architectural Press, 1991): Michel de Certeau, The Practice of Everyday Life, (University of California Press: Berkeley and Los Angeles, 1984) Robin Evans. Translations From Drawing to Buildings and Other Essays. London: Architectural Association Publications, 1997 Hal Foster ed., The Anti-Aesthetic: Essays on Postmodern Culture (New York: The New Press, 1998) Hal Foster, The Return of the Real: The Avant-grade at the End of the Century (Cambridge, Massachusetts: The MIT Press, 1996) David Harvey, Part 2, On Bodies and Political Persons in Global Space, Part 4, Conversations on the Plurality of Alternatives, in Spaces of Hope (Berkeley: University of California Press, 2000): , Michel Foucault, The Order of Things, An Archaeology of the Human Sciences (New York: Random House, 1970): John Hedjuk, Education of An Architect: A Point of View: The Cooper Union School of Art and Architecture (New York, Monacelli Press) Siegfried Kracauer, The Mass Ornament. Weimar Essays. (Translated, Edited and with an Introduction by Thomas Y. Levin) (Cambridge Mass.: Harvard UP, 1995) Rosalind E. Krauss, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge: MIT Press, 1985), Grids, Rem Koolhaas, Introduction, and The Skyscraper Theorists, in Delirious New York: A Retroactive Manifesto for Manhattan (New York: The Monacelli Press, 1994) Peter Lang and William Menking eds. Superprojects: Objects, Monuments, Cities, in Superstudio: Life Without Objects (Milan: Skira, 2003) Mary McLeod, Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism, in Michael Hays ed, Architecture Theory Since 1968 (Cambridge MA: The MIT Press and Columbia Books on Architecture, 1998) Marshall McLuhan, The Medium Is the Message, in Understanding Media: The Extensions of Man (Cambridge MA: The MIT Press, 1994) Original version Matilda McQuaid, Envisioning Architecture: Drawings from the Museum of Modern Art (New York: MoMA) Joan Ockman ed, Architecture Culture : A Documentary Anthology (New York: Rizzoli and Columbia Books of Architecture, 1993) Selected Writing: 1968 On Ducks and Decoration by Denise Scott Brown and Robert Venturi. Joan Ockman ed, Architecture Culture : A Documentary Anthology (New York: Rizzoli and Columbia Books of Architecture, 1993) Selected Writing: 1967 The Right to the City by Henri Lefebvre. Simon Sadler, The Situationist City (Cambridge, MA: MIT Press, 1999) Georg Simmel, The Metropolis and Mental Life, in Kurt H. Wolff ed. and trans., The Sociology of Georg Simmel (New York: Free Press, 1950) Bernard Tschumi, Questions of Space, in Architecture and Disjunction (Cambridge MA: The MIT Press, 1996) Bernard Tschumi and Enrique Walker, Paris-London-New York / Program, The Manhattan Transcripts, in Tschumi on Architecture: Conversation with Enrique Walker (New York: The Monacelli Press, 2006) Mark Wigley, The Fiction of Architecture, in Anne Ellegood Out of Site: Fictional Architectural Spaces, (New York: New Museum of Contemporary Art, 2002)

6 Mark Wigley, Unbuilding Architecture, in Mark Wigley, The Architecture of Deconstruction: Derrida s Haunt (Cambridge, MA: The MIT Press, 1993): Representation / Drawing: Clark, Roger H., and Michael Pause. Precedents in Architecture Analytic Diagrams, Formative Ideas, and Partis. New York: Wiley, Lupton, Ellen, and Phillips Jennifer Cole. Graphic Design The New Basics. New York: Princeton Architectural, Lupton, Ellen. Thinking with Type A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs). New York: Princeton Architectural, Robbins, Edward. Why Architects Draw. Cambridge: MIT Press, 1994

Course Specification. Course Code: TBC. 1. Course Title: History of Architecture and Urban Studies (HAUS) Academic Session: 2011/12

Course Specification. Course Code: TBC. 1. Course Title: History of Architecture and Urban Studies (HAUS) Academic Session: 2011/12 Course Specification Course Code: TBC 1. Course Title: History of Architecture and Urban Studies (HAUS) 3 2. Academic Session: 2011/12 3. Level: SCQF 8 4. Credits: 20 5. Lead School/Board of Studies: Mackintosh