Bethanie Cayabyab's Portfolio by bcayabyab

BETHANIE CAYABYAB

FIRST YEAR LANDSCAPE ARCHITECTURE 2019-2020

TABLE OF CONTENTS

COVER 1

TABLE OF CONTENTS

SKETCHES

DRAFTING

PROJECTS

TOPOGRAPHY

A collection to develop sketching as a daily practice, to strengthen visaul observation skills, to use different methods and media.

AutoCAD Works

Garden Imagery (Traditional / 3D Modeling and Rendering) TEXTILEscape Occupied Spatial Unit

Topography Tile Drawings Expanded Interpretation of David Leatherbarrowâ&#x20AC;&#x2122;s Definition of Topography Topography Collages

SKETCHES

A collection to develop sketching as a daily practice, to strengthen visaul observation skills, to use different methods and media.

SKETCHES

Blind Contour Portraits

SKETCHES Blind Contour

SKETCHES Value Study

SKETCHES

Car & Populated Urban Street

SKETCHES Brachen in Berlin

SKETCHES

Bronco Statue & Double Negative

DRAFTING AutoCAD

Weekly recreated examples in AutoCAD to learn and practice the most commonly used drafting commands in this program.

DRAFTING AutoCAD

2" 6"

1" 4"

3'-0"x6'-8"

DRAW JAMBS to OUTSIDE

1'-0"

OFFSET 2" for GUIDE ERASE LATER

3 1" FLUTING

2'-0" 3 4"

BEVELS (OFFSET COMMAND)

6'-8" DOOR 4"

FILLET COMMAND TO "CLEAN UP" CORNERS 3 4"

BEVEL (OUTER)

3 4"

BEVEL (INNER)

PANEL DETAILS

12"

PANEL DOOR

2'-0"

OPTIONAL HEADER DETAIL

3'-0" DOOR

20 MIDPOINT OSNAP

KEYSTONE DETAIL

8" 8" 4"

4'-0" x 4"H LINTEL

3'-4"x4'-0" 1

TRIM INTERIOR CORNERS 5

2" JAMBS

4'-0" WINDOW

1-1/2" FRAMES FILLET OUTSIDE CORNERS VERIFY FILLET RADIUS = 0

1-21" OFFSETS for FRAME

3 4"

MUTINS

CENTERLINES from/to MIDPOINTS (OSNAPS) 8

CENTERLINES of MUTINS

3 8" OFFSET from CENTRLINES for 34" MUTINS

WINDOW

3'-4" WINDOW

4'-0" x 4"H SILL

ERASE CENTERLINES

TRIM INTERSECTIONS

DRAFTING

PRODUCED BY AN AUTODESK STUDENT VERS

AutoCAD

TRIM

6" OFFSET

4" OFFSET

1" DIA. BUTTONS (4)

4" OFFSETS

1'-10"

EXTEND w/ GRIPS 4

2'-8"

2'-0"

TRIM

2'-8"

3 4" R. FILLETS (EACH SIDE)

MULTIPLE COPY BUTTONS USING INTERSECTION OSNAPS for BASE and DISPLACEMENT REFERENCES BUTTONS 6

OFFSET INSIDE ARMS/CUSHION 6" for BUTTON LOCATIONS ERASE when FINSIHED

"FILLET" CUSHION FIRST, FILLET ARMS SECOND, EXTEND LINES USING GRIPS. (SEE INSET)

2'-6"

MIRROR LINE REFERENCE (OFFSET from CHAIR -ERASE when FINSIHED)

4'-8" BASE POINT INT. OSNAP

2'-0"

CHAIR GROUPING

COPY

MIRROR 5'-0" APART

CED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

4" 2'-8" SQ

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDEN

USE "O-SNAP" TO LOCATE END OF LINES

LAY OUT LOWER RIGHT QUARTER of the PLAIN

DRAW INTERSECTING LINES from QUARTER SECTION ENDS. CHANGE TO CENTERLINES

CENTERLINES

EXTEND CENTERLINES USING GRIPS

4'-8"

STOP DRAWING QUARTER SECTION HERE

FILLET CORNERS SET FILLET @"0" RADIUS!!

4'-4"

OFFSET WALLS THICKNESS = 8"

START DRAWING QUARTER SECTION HERE

16'-8"

2'-8"

4'-8"

TRIM WINDOWS

OFFSET WINDOW JAMBS and GLASS

3'-4"

5'-4"

4'-8"

3'-4"

19'-4"

4'-8"

EXTEND WALL

USE CENTERLINE as REFERENCE for MIRROR LINE (OSNAP to EACH END)

REFERENCE for MIRROR LINE

TRIM INTERSECTIONS

8 7

MIRROR QUARTER SECTION

GEORGIAN HOUSE: FLOOR PLAN -- BLOCK OUT

MIRROR HALF SECTION

DRAFTING

DRAW LINES from CORNERS OSNAPS ON

5'-0"

OFFSET WALLS 4-1/2"

5'x5' CLEAR (BATH)

OFFSET SHELVES 12"

TRIM SHELVES CHANGE LAYER

3 PAIR

2'-6"

2'-8" 2'-8"

15"

LAV. (ELIPSE)

EXTEND

DINING ROOM

MODIFY PROPERTIES

OPENINGS FOR DOORS BEFORE DRAWING DOORS

W.C. OFFSET, FILLET, ELIPSE, TRIM

30"

ROD

CENTER (ALWAYS) START

11 DRAW DOOR OFFSET ROD 2" OFFSET C/L W.C. 15"

ALIGN WALL OFFSET 4-1/2"

10 OFFSET / TRIM

28"

TANK: 18" x 9" 1" from WALL

4'-0" TYPICAL

1'-0" UPPER CABINETS BUFFET

4'-8"

(CLOS.)

W.C.

ISLAND

2'-6"

OFFSET for BATH/CLO. WALL TRIM CHANGE LAYER

1'-3" 5'-0"

DRAW DOOR(S) and SWINGS @EACH OPENING -- ARC/SCE SEE 11

3 PAIR

OFFSET JAMBS 2" EACH SIDE OF WALL

3 PAIR

DINING RM.

2'-0" BASE CABINETS

6'-8"

OFFSET WALL 5'-0" CLEAR @BATH/CLOS.

3 PAIR

DRAW LINES to PERP OSNAP

OFFSET VANITY 24" DEEP x 30" LONG

EXTEND/FILLET to FINISH VANITY

MODIFY LAYER, COLOR, LINETYPE C/L ROD to CABINET LAYER, GREEN, CENTER C/L W.C. to PLUMBING LAYER, GREE, CENTER

DRAW LAVATORY -- ELIPSE DRAW WC -OFFSET, FILLET, ELIPSE, TRIM

from FACE of WALL ORTHO, OSNAP

DOORS

LAYER ALLOCATIONS

CABINETS AND SHELVES @ CABINET LAYER PLUMBING FIXTURES @ PLUMBING LAYER DOORS & SWINGS @ DOOR LAYER INTERIOR PARTITIONS @ WALL INT LAYER

GEORGIAN HOUSE: INTERIOR FEATURES

END

ARCS "BUILD" COUNTER CLOCKWISE ARC for SWING = ARC - S C E OSNAP to ENDPTS to LOCATE ARC'S START/CENTER/END

DUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

AutoCAD

ODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

BE SURE to SET FILLET RADIUS to "0"!!

ORTHO ON 1'-8" x 4'-0"

OFFSET 2" FRAME FILLET "0" or TRIM

LAYOUT LINE to LOCATE CENTER of SHUTTER

LINE from MIDPOINTS

CIRCLES from MIDPOINT OSNAP (OSNAP for CENTER)

ERASE LAYOUT LINE WHEN FINISHED

ERASE MIDDLE LOUVER & CENTERLINE

SHUTTER

TRIM OUT CIRCLES

OBJECT to ARRAY

ARRAY (RECTANGULAR) 1 COLUMN; 22 ROWS

4'-0"

4" DIAMETER

8" DIAMETER

2" LOUVERS

2" FRAME

1'-8"

DRAFTING AutoCAD

ORTHO OFF "EYEBROW" this LINE

BREAK LINE

2" RAIL

OBJECT to ARRAY

15'-0"

12" TREAD 1

ORTHO ON 4'-6" X 15'-0"

3 ORTHO OFF OFFSET RAIL 2" ARRAY 12" TREADS DRAW BREAK LINE 15 ROWS; 1 COLUMN

BREAK RAIL and STRANGER (3 PLACES)

8" DIA. NEWEL POST 4'-6"

2" OFFSET for CENTERLINE 8" DIAMETER

4" DIAMETER 5

STAIRCASE

OSNAPS ON 6 TRIM OUT NEWEL ALIGN NEWEL to RISER and RAIL (DRAW/ERASE CENTERLINES)

BREAK STAIR LINES at INTERSECTIONS (USE OSNAPS). MODIFY PROPERTIES to HIDDEN LINES

OFFSET 2" 3"

5'0-"x1'-4"

1'-8"

SOFA TABLE

4" FIREBRICK

4'-0" X 1' -4"

2'-8"

FIREBOX 6"

1'-4"

3'-4"

16" DIA 1'-4"

2'-0"

6'-0"

FIREPLACE

10"

END TABLE 24" DIA.

COFFEE

18"

SOFA

7'0" x 3'-0"

4'-0" X 2'-0"

2 20" SQ. 5

OFFSET 2"

OSNAP ANGLES

TRIM / ERASE

OFFSET 2"

CHAIR

HALL TABLE & SIDE CHAIR

HUTCH 6'-0" x 1'-8"

COPY from MIDPT to ENDPT

TRIM / EXTEND / ERASE

COPY - OSNAP to OSNAP

EXTEND LAYOUT LINE 12" to LOCATE CHAIR TRIM, ERASE

33" LINE ORTHO ON OSNAP from CENTER

COPY CHAIR, ALIGN on CENTERLINE

MIRROR LINE TRIM/ERASE BELOW TABLE

MIRROR

ERASE LAYOUT LINE WHEN FINISHED

8'-0"x3'-6" OFFSET 32" fromEACH END LINE from MID to MID LENGTHWISE

42" DIA

COPY CHAIR to SIDE MIRROR PAIR to OPPOSITE SIDE

DRAW ROUND TABLE LAYOUT LINE + RADIUS + 12 to PLACE XHAIR 12" from TABLE

COPY, ROTATE 90, MOVE into PLACE

EXTEND LAYOUT LINE 12" to LOCATE CHAIR

ARRAY COMMAND: POLAR SELECT CHAIR OSNAP to CENTER of CIRCLE 5 CHAIRS FILL 360 DEGREES ROTATE as FILL

BREAKFAST TABLE

MIRROR LINE

MIRRORED CHAIR

DINING TABLE & CHAIRS

32"x20"

FIREPLACE, FURNITURE, APPLIANCES

SINK

30"x24"

R/O

36"x27"

REF

DRAFTING

PARLOR

APPROXIMATE APPEARANCE of SCREEN AFTER INSERTS INSERT DOOR, WINDOW, CHAIRS, SHUTTER as BLOCKS

AFTER FURNITURE HAS BEEN PLACED, ERASE ANY "LEFT OVER" PIECES.

LIVING

DO NOT ERASE DOOR, WINDOW or SHUTTER

GEORGIAN HOUSE: FURNISHINGS

PRODUCED BY AN AUTODESK STUDENT VERSION

AutoCAD

PRODUCED BY AN AUTODESK STUDENT

1'-8" HEARTH

2'-8" SQUARE

10'-0" 2'-8"

12" TREADS 4" REVEAL

5'-4" NOTE: PORCHES WILL MIRROR to the OPPOSITE SIDES of BUILDING (USE BUILDING AXES as "MIRROR LINES")

2'-0"

8" REVEAL

12" TREADS

GEORGIAN HOUSE: PORCHES and HEARTHS

#10

DRAFTING AutoCAD

PORCH

ISLAND

PARLOR

R/O

REF.

SINK & DISP.

KITCHEN

S&R

BUFFET

ATRIUM

PORCH

BATH

LAV

W.C.

BREAKFAST

PORCH

CLOS.

DINING HALL LIVING

PORCH

GEORGIAN HOUSE: TEXT

#11

30 ARCHITECTURAL FORMATS INCLUDE: -ARCHITECTURAL TICKS -CLOSED FILLED ARROWHEAD @ LEADER -OFFSET EXTENSION LINES -EXTENDED DIMENSION/EXTENSION LINES

5'-4"

-DIMENSIONS ALIGNED W/ DIMENSION LINES -ARCHTECTURAL UNITS & TEXT STYLE -0" (ZERO INCHES) IS EXPRESSED -DIMENSIONS ABOVE DIMENSION LINE

PORCH

SINK & DISP. REF.

KITCHEN

R/O

ISLAND

PARLOR

16'-8"

8'-8"

BUFFET

BATH

ATRIUM

PORCH

S&R

42'-0"

LAV

W.C.

BREAKFAST

PORCH

CLOS.

LINEAR VERTICAL DIMENSIONS

DINING HALL LIVING

16'-8"

PORCH 5'-4"

3'-4" LINEAR HORIZONTAL DIMENSIONS

3'-4"

4'-8" 19'-4"

10'-0"

3'-4"

4'-8"

3'-10"

3'-0"

3'-10"

4'-8"

10'-8"

49'-4"

GEORGIAN HOUSE: DIMENSIONS

3'-4"

4'-8"

3'-4"

19'-4"

10'-0"

#12

DRAFTING

18'-0" BUILDING HEIGHT (TO ROOF BEARING)

OSNAP a LAYOUT LINE from MIDPOINT

49'-4" BUILDING LENGTH

0'-0" FIN. FLR.

MAIN BLOCK:

19'-4" OFFSET

PLACE DOOR

ZOOM WINDOW ZOOM PREVIOUS ZOOM WINDOW..........TO MOVE DOOR

10'-8"

OFFSET

FROM HERE OFFSET &TRIM ERASE LINE WHEN COMPLETE

9'-0"

RECESS @ ENTRY

10'-0" OFFSET

PLATFORM FOR SIDE PORCHES

RECESS @ ENTRY

TO HERE OSNAP from MIDPOINT to ENDPOINT @ LAYOUT LINE

0'-0" FIN. FLR.

PLACE DOOR @ ENTRY

EXTEND 0'-0" FIN. FLR.

PORCHES & GRADE

OFFSET FINISHED GRADE (-) 1'-6" BELOW FIN. FLR.

ELEVATION: BLOCK OUT & DOOR

#13A

PRODUCED BY AN AUTODESK STUDENT VERSION

AutoCAD

32 OFFSET

OFFSET 3'-4"

8'-0"

6'-8" 15'-8"

OFFSET

COPY (SEE BELOW)

MOVE (SEE BELOW)

OFFSET

UPPER LEFT WINDOW CORNERS

6'-8"

0'-0" FIN. FLR.

OFFSET to LOCATE LEFT WINDOW CORNERS

COPY SHUTTER FIRST .....................................................THEN...

MOVE ORGINAL SHUTTER to OPPOSITE SIDE

PLACE SHUTTERS at WINDOW

FIRST, COPY FROM HERE TO HERE

OSNAP tp DISPLACEMENT POINTS @ WINDOW

SECOND, MOVE FROM HERE

MOVE WINDOW INTO PLACE

TO HERE

OSNAP to INTERSECTION for DISPLACEMENT POINT

PLACE SHUTTER ZOOM to CAPTURE BASEPOINT (INTERSECTION OSNAP) for MULTIPLE COPY MOVE WINDOW

TO HERE ERASE WHEN COMPLETE

FROM HERE

OSNAP to CORNER (INTERSECTION or ENDPT.) BASE POINT

ELEVATION: WINDOWS AND SHUTTERS

MULTIPLE COPY WINDOW/SHUTTER UNITS

MULTIPLE COPY to SEVEN INTERSECTIONS (OSNAPS)

#13B

DRAFTING AutoCAD

OFFSET 3'-0" FOR RIDGE

TRIM FASCIA EACH SIDE (SEE BELOW) OFFSET 2'-0" EACH SIDE for OVERHANG

OFFSET RIDGE and 2" OVERHANG EXTEND or FILLET EACH SIDE

OSNAP LINE ENDPT. to ENDPT. for HIP (EA. SD.)

OFFSET 2" for TRIM PROFILE (EA. SD.)

TRIM WALL LINE

TRIM END DETAIL (EACH SIDE)

EXTEND LINE OF OVERHANG

OFFSET 2" BELOW for TRIM

TRIM DETAIL @ FASCIA

4" FLUE & GROUT CAP

3" OFFSET 6" for FASCIA BOARD (8" from TOP)

OFFSET RIDGE 24" THEN FILLET for CHIMNEY STACK

CHIMNEY OFFSET 12" OFFSET WIDTH 2'-8"

TRIM as SHOWN

(CORNER of BUILDING)

OFFSET 8" FASCIA AND 2" TRIM

CHIMNEY and CAP

ELEVATION: ROOF, FASCIA, AND CHIMNEY

#13C

34 OFFSET PILLAR 32" ABOVE FIN. FLR. (EACH SIDE)

FILLET to FACE of PORCH (EA. SD.)

0'-0" FIN. FLR.

DRAW PILLARS at SIDE PORCHES

NOTE: PERFORM OPERATION as REQUIRED at BOTH SIDE PORCHES

OFFSET 32" (EA. SD.)

TRIM/FILLET as SHOWN (EA. SD.)

OFFSET 24" EA. SD.

OFFSET 36" ABOVE FIN. FLR .

0'-0 FIN. FLR.

TRIM FRONT PILLARS as SHOWN OFFSET RISERS 6" EACH

DRAW FRONT PILLARS & STEPS

VERIFY THIS BASIC ELEVATION with YOUR DRAWING -EDIT YOUR DRAWING as REQUIRED

ELEVATION: PORCHES AND FRONT STAIRS

FRONT ELEVATION

#13D

DRAFTING AutoCAD

PRODUCED BY AN AUTODESK STUDENT VERSION

13'-0"

8" FASCIA 2" TRIM

9'-0"

DESIGN ONE BALUSTER and MULTIPLE COPY or ARRAY 2" RAIL + 30"

18" DIA. COLUMNS 4x22 BASE 3x22 CAPITAL 0'-0"

COLUMNS, TRIANGULAR PEDIMENT, and RAILS

HATCH: BEGIN with SCALE FACTOR of 24 -ADJUST UP or DOWN from THERE (PREVIEW). ALWAYS SAVE BEFORE ATTEMPTING ANY HATCHING!!!!!

48" DIA. LUNETTE

13'-0"

9'-0"

24" DIA

RAILED ENTRY

CONC. SPHERE 12" DIAMETER 2x8 BASE

ROUND WINDOWS, INTEL, CONCRETE SPHERES w/ BASE

ELEVATIONS THREE ALTERNATES

2" 6" 8"

2x4

CONSTRUCT AROUND AN AXIS 2x6

ROUND WINDOW 24" &/or 48" DIA. POLAR ARRAY SPOKES COPY/SCALE COMMAND

#13E

PRODUCED BY AN AUTODESK STUDENT VERSION

5'-4"

PORCH

SINK & DISP.

16'-8"

5'-4"

3'-4"

10'-0"

REF.

R/O

BUFFET

W.C.

ATRIUM

BATH

PORCH

BREAKFAST

LAV

8'-8"

ISLAND

PARLOR

S&R

42'-0"

PRODUCED BY AN AUTODESK STUDENT VERSION

16'-8"

KITCHEN

PORCH

CLOS.

DINING HALL LIVING

PORCH

3'-4"

4'-8" 19'-4"

3'-4"

4'-8"

3'-10"

3'-0" 10'-8"

49'-4"

3'-10"

4'-8"

3'-4"

4'-8"

3'-4"

19'-4"

10'-0"

FLOOR PLAN

FRONT ELEVATION GEORGIAN HOUSE

DRAWN BY: BETHANIE CAYABYAB DATE: MAY 15 2020

PROJECTS

GARDEN IMAGERY: TRADITIONAL Traditional methodologies of graphic representation as they pertain to spatial design. All drawings will have color added with markers. orthographic drawings have rules that are easy to follow and have little room for mistakes. GARDEN IMAGERY: 3D MODELING & RENDERING Garden Imagery represented with the use of Photoshop using image textures and digital painting techniques, and Illustrator using the Live Paint technique. All drawings are embellished with color, texture, shadow, plant material. This project illustrates realism and representation through the use of rules and techniques of rendering. This design process has been set forth by renaissance artists and contemporary designers who use computers and digital programs to simulate this process with a higher level of detail and accuracy than has ever been possible.

TEXTILEscape Considering TEXTILE as a woven fabric-like condition for solid-void studies in 3D, including the analog and digital construction and diagramming of wood joints and examining the field conditions thereof, using the spatial terms for 2D and 3D weavings. OSU Occupied Spatial Unit (OSU) is an abstract spatial construction that can be occupied and/or activated by people moving through it or pausing within it. Its purpose is to invite people to experience the landscape in different, perhaps even unexpected or surprising ways, using COLOR in specific ways as driven by your site analysis conclusions.

PROJECTS

Garden Imagery: Traditional

PROJECTS

Garden Imagery: Traditional

PROJECTS

Garden Imagery: Traditional

PROJECTS

Garden Imagery: 3D Modeling & Rendering

PROJECTS

Garden Imagery: 3D Modeling & Rendering

PROJECTS

Garden Imagery: 3D Modeling & Rendering

PROJECTS TEXTILEscape

The aesthetic behind this final wooden cube model is the way it looks difficult to look at yet still interesting enough to catch the eye. The wooden blocks put together is an exact replica of the first models made with chipboard and museum board. Nonetheless, the scale is similar enough. The creation of this wooden cube model took a lot of creativity and critical thinking. The joints within the model helps the structure stay together along with the glue. It also illustrates a slight design for the lines and indents the can be seen on the outside causes the viewer to think. If it were not for the specifications of the wooden block model to be built after creating and practicing modeling with the chipboards or museum boards, the making of the wooden could not have been done. The weaving and combination of the cubes create a 3D construct that keeps the eye moving. Part of the cube hangs out and defies gravity because there is no way it can hold without the use of a joint.

Floor Plan

Section

Side A (Elevation)

Side B (Elevation)

Bethanie Cayabyab/TEXTILEscape/LorenaGarcia/LA1111L Fall 2019

PROJECTS

Occupied Spatial Unit

The given site is an uneven combination on soft-scape and hard-scape area. The main figure that sets our site apart from others is the installment of the magnolia tree at the corner of the softscape. We believe this tree should be a focus and the main figure in our composition. We want to incorporate the tree as a symbol that ties in with the practical use of our OSU and cultural background that ties in with our color. Our site is also placed near an L-shaped bench, where surprisingly not that may choose to sit at because there are benches closer to the building. Because the site is shaded at almost all hours of the day, and with the seasons getting cooler, not everybody wants shade in the cold. Other benches and resting areas around the site provide a balance of shade and sun. There is not much sun exposed on this site, so this area is a cool spot. While the bench exists, it isnâ&#x20AC;&#x2122;t in the actual site. Our site doesnâ&#x20AC;&#x2122;t see much occupation because many people prefer to occupy man made areas rather than plain grass. The grass is well kept and fresh and takes up most of the smell in the site. There is a major color contrast from a vibrant green from the grass to the shaded browns of the tree and wood chip. We think our site offers a lot of opportunity to create something that can be occupied while we attempt to overcome the challenge of the pre-existing resting areas that are much more favored. Also, there is little to no wind in this area. Throughout this site, there is little to no pedestrians. Not many people pass by the area. They tend to only walk and interact with the pathway. Overall, this site has yet to be occupied.

TOPOGRAPHY

TILE DRAWINGS

The construction of scaled

digital models to further explore relationships between

topographic form and imagined space.

3E - Section 1:100

3E - Section 1:200

3E - Section 1:250

3E - Section 1:300

3E - Section 1:500

Expanded Interpretation of David Leatherbarrow’s

Definition of Topography TOPOGRAPHY COLLAGES

A graphic exploration in scale – the monumental scale

of Dante’s View – to further explore relationships be-

tween theory, materiality, form, everyday experience and imagined space. Demonstrating awareness of the

landscape as public space, where physical proximity is observed, nine of Michael Sorkin’s ‘TWO HUNDRED FIFTY THINGS AN ARCHITECT SHOULD KNOW’ are

researched, translated and inserted into the

topography via collage.

TOPOGRAPHY Topography Tile Drawings

3E - Topo Plan 1:200

1:200

TOPOGRAPHY

Expanded Interpretation of David Leatherbarrow’s Definition of Topography

In the reading, “Topographical Stories”, David Leatherbarrow manifests the conceptualization of landscape architecture.  There are many components to how landscape architecture is done, and Leatherbarrow portrays the consideration of how landscape architects are responsible for factors that architects do not take account of.  The placement of buildings and their structures is a design contrast compared to gardens and landscapes.  Throughout the reading, he observes the challenges of landscape architects in observation of topography.

David Leatherbarrow defines the qualities and roles of a landscape architect.  He claims that “Concern for terrain means more than an interest in geometry … care for the materiality, color, thickness, temperature, luminosity, and texture of physical things.”  Landscape architects must always be aware of how they choose designs and put into consideration the natures and topography within an environment. David Leatherbarrow defines the qualities and roles of a landscape architect.  He claims that “Concern for terrain means more than an interest in geometry … care for the materiality, color, thickness, temperature, luminosity, and texture of physical things.”  Landscape architects must always be aware of how they choose designs and put into consideration the

natures and topography within an environment.  In contrast to architects, they focus on construction and location rather than scenography. He also brings attention how architecture has received much criticism throughout time for creating buildings and making them seem like isolated objects. Some may view buildings as such, both gardens and the tall structures can be conceived to be a form of cultural construction, “poetry, philosophy, or politics.” These statements presented in the reading proposes that within any type of architect’s art, the discipline is diverse, they represent meaning. Leatherbarrow states how both architects see and create designs in which they rely on each other to spread the “authentic life” given to us.  In conclusion, landscape architecture has a different steer when

it comes to architecture for they have to take in account for the land in which “integrates diverse institutions and situations.”  David Leatherbarrow illustrates the themes of landscape design in the perusing,“Topographical Stories”. He speaks to the contrast between landscape architecture and architecture issues. There are numerous variables to how landscape architecture is done, and Leatherbrrow depicts the duties to thoroughly reason and show the distinctions. Architectural buildings have a similar purpose to gardens which is to enlighten those that interact to the art.

TOPOGRAPHY

9 Things & 2 Things Collages

Michael Sorkin TWO HUNDRED FIFTY THINGS AN ARCHITECT SHOULD KNOW

130. How to Escape a Maze

136. The History of Big Machines, Including Those That Can Fly

Simple steps to Escape a Maze

The First to Flight The Wright

By 1905, they

By 1906, soon-to-be

In emphasis of big

When the First

Nearly as soon as

We should not

There is an easy

If you imagine

Brothers made

have have they

pilots start to ride an

machine, designers

World War

the news of the ﬁrst

deny the

way to ﬁnd your

putting up the right

their ﬁrst

consider as a

and pilots began to

ﬂights of the

recognition the

way out of a maze.

hand to the wall

“practical ﬂying

approaches, these

powered ﬂights in

uncontrollable

ﬂying machines

brothers merit to

and turn 180

1903, their

aircraft. In 1909,

Wright Brothers at

The ﬁrst step is to

machine.” Many

develop commercial

engineersbeneﬁt

aircraft,

have become an

Kitty Hawk and

those

reach the wall or

experiment of

after there had been

degrees, you may

creating an

from their

ﬂying demosof the

observation

important part of

Huffman Prairie

“wannabes,” they

hedge with your

reach a dead end.

aircraft started

experience and

Wrights people

platforms equipped

war and peace.

became public there

are real pioneers

hand closest to it,

However, if you

grow into a

start building on

started

with radios and

were reports that

and visionaries in

left or right. Then,

exit the deadend

marketable

their

others were the

aviation. `

keep the same hand

with your right

commodity.

performance.

understanding the

wireless telegrapghs,

ﬁrst to ﬂy.

touching the ground

hand on the other

ﬁghters, and

and start walkin. It

side, and ﬁnally

importance of

bombers, the

may take you down

turn to the right,

aerodynamic

capabilities and

a painfully long

you will follow a

three-axis ﬂight.

uses for aircraft

path but it will

new road.

grow.

ﬁnally get you out.

beauty and

64 â&#x20AC;&#x153;The strength of a good design lies in ourselves and in our ability to perceive the world with both emotion and reason.â&#x20AC;? - Peter Zumthor