A2 3D Design: Unit 3 Project Brief 2013-14

A2 3D Design Unit 3 Unit 3 is a major piece of coursework that is worth 60% of the A2 course (30% of the whole A level qualification) and is made up of an essay and your practical work.

You will be expected to submit the following: Essay

Practical work

Contextual study on a theme of 2000 – 3000 words

A wide range of practical outcomes (models, drawings, sketches, ideas, installations, etc.) that come out of your investigation into your chosen theme.

However, this WILL NOT BE A PASTICHE, you are not allowed to mimic the work of others.

Essay must be illustrated and images captioned

A3 sketchbook documenting all practical work

You must submit an A4 research folder containing all of your annotated source material (exhibition leaflets, photocopies of chapters form books, online articles, articles from magazines and newspapers, etc.)

Final outcomes

You must submit rough drafts at the deadlines given and each marked rough draft should be kept in your research folder All research must be recorded in a detailed bibliography All references and quotations must be formatted using the Chicago system

Failure to meet any of the deadlines below will result in disciplinary action and will jeopardise your place in the course.

Essay Deadline 1

First lesson in September 2013 You must be ready to present in the first lesson, no excuses.

You must hand in all items exactly as listed here.

Hand in your A4 Research File/A4 sketchbook containing the following completed research: •

A fully annotated copy of all of your core texts

•

A short written summary on each of the core texts to outline the main ideas. You may need to do some additional research to do this successfully.

•

Your own photographs of buildings in London that you have visited (the buildings must relate to your chosen theme). Minimum of 4 buildings.

•

Annotated research on your chosen buildings

•

Plans, elevations and section drawings of your chosen buildings

•

Quotes from your core texts linked to the features behind your chosen buildings

•

Any additional research: o Photocopies of chapters from books (read and annotated) o Online articles printed (read and annotated), o Articles from magazines and newspapers (read and annotated).

Deadline 2

Friday 27th September 2013

Rough Draft 1 (3000 - 4000 words) – write more than you need

Deadline 3

Friday 25th October 2013

Rough Draft 2 (2000 – 3000 words) – edited version

Deadline 4

Friday 29th November 2013

Final draft, formatted in Chicago system with full bibliography

Deadline 5

Friday 31st January 2014

Final submission of all work (essay and practical work) for Unit 3. Your work will not be returned.

You will also be expected to hand in your A3 sketchbooks, containing documentation of your practical work, at specific stages throughout the unit.

You will use one of the following three themes to explore the conflicting ideas within it.

These ideas will form the starting point for you practical design work, so it is vital that you have done the research over the summer vacation.

1. What are the possibilities and limitations of concrete in architecture?

You will need to establish very early on in your essay precisely what defines concrete’s characteristics: aesthetically, material qualities, constructional possibilities and it’s sustainability.

Through the application of these characteristics to well-chosen examples of architecture you will demonstrate a sound understanding of the material.

You should produce an historical account of the importance of concrete throughout the history of Modernism: from any early examples in the work of the Chicago School through to the post-WWII architectural style known as ‘Brutalism’.

You will need to find examples of buildings within London, both modernist and contemporary, through which to extend your research and ultimately to produce a reasoned answer to the question. How do different architects choose to exploit concrete’s features? What defines a successful use of concrete from an unsuccessful one? How well does the material age?

Note: It would be expected that you experiment in your studio design work with concrete so that you are familiar with its material qualities through first hand experience.

Core texts De Stijl (1923) Manifesto V: - + = R4 Doesburg, Van and van Eesteren (1923) Towards collective building Gabo, Naum/Antoine Pevsner (1920) Basic principles of Constructivism Le Corbusier/Pierre Jeanneret (1926) Five points towards a new architecture.

Le Corbusier (1920) Towards a new architecture: guiding principles Loos, Adolf (1908) Ornament and crime. van de Velde, Henry (1907) Credo van der Rohe, Ludwig Mies (1923) Working theses Wright, Frank Lloyd (1910) Organic architecture (excerpt)

Buildings to visit, photograph, draw and research Barbican Estate (Barbican) http://modernarchitecturelondon.com/pages/barbican-estate.php Robin Hood Gardens (Poplar) http://modernarchitecturelondon.com/pages/robinhood-gardens.php

Bibliography Conrads, Ulrich ed. (1975) Programs and Manifestoes on 20th-Century Architecture. The MIT Press Le Corbusier (1986) Towards a New Architecture. Mineola, NY: Dover Publications, Inc. Van der Rohe, Ludwig Mies (1959) On restraint in design, New York Herald Tribune, 28 June

2. How useful today are Le Corbusier’s ‘Five points of architecture’?

This is essay is made easier to tackle as Le Corbusier and Jeanneret’s manifesto Five points towards a new architecture (1926) will form the basic structure through which to analyse your chosen architectural examples.

You will need to establish very early on in your essay precisely what is meant by each of these five points and how they fit into Le Corbusier’s opinions on architecture.

Through the application of these five pints to well chosen examples of Le Corbusier’s work, you will demonstrate a sound understanding of these design principles. Does Le Corbusier ever defer from these five features? Are there any examples of his work, after the manifesto was written, that fail to include any of these five points? Does Le Corbusier actively utilise these five features or does he selectively chose from them?

You will need to find examples of buildings within London, both modernist and contemporary, through which to extend your research and ultimately to produce a reasoned answer to the question. Are any of Le Corbusier’s five points now redundant? Should the list be reduced or do you think other key points should be added?

Core texts De Stijl (1923) Manifesto V: - + = R4 Doesburg, Van and van Eesteren (1923) Towards collective building Gabo, Naum/Antoine Pevsner (1920) Basic principles of Constructivism Le Corbusier/Pierre Jeanneret (1926) Five points towards a new architecture.

Le Corbusier (1920) Towards a new architecture: guiding principles Loos, Adolf (1908) Ornament and crime. van de Velde, Henry (1907) Credo van der Rohe, Ludwig Mies (1923) Working theses Wright, Frank Lloyd (1910) Organic architecture (excerpt)

Buildings to visit, photograph, draw and research Barbican Estate (Barbican) http://modernarchitecturelondon.com/pages/barbican-estate.php Robin Hood Gardens (Poplar) http://modernarchitecturelondon.com/pages/robinhood-gardens.php

Bibliography Conrads, Ulrich ed. (1975) Programs and Manifestoes on 20th-Century Architecture. The MIT Press Giedion, Sigfried (1977) Space, Time and Architecture: The Growth of a New Tradition. Harvard University Press Le Corbusier (1986) Towards a New Architecture. Mineola, NY: Dover Publications, Inc. Van der Rohe, Ludwig Mies (1959) On restraint in design, New York Herald Tribune, 28 June

3. Should we preserve the architecture of the recent past?

One of the overwhelming accomplishments of modernism has been its remoulding of urban habitation. For this question I would like you to find examples of successful social housing in London dating from the interval 1930 – 1975: from both the inter-war and post-WWII periods.

You will need to know your chosen examples well, being able to describe them both spatially and with reference to the ideas behind their design and construction.

In contrast to this, you will also analyse your chosen successful building(s) with reference to the failures of other modernist (or more recent) social housing within London.

Core texts De Stijl (1923) Manifesto V: - + = R4 Doesburg, Van and van Eesteren (1923) Towards collective building Gabo, Naum/Antoine Pevsner (1920) Basic principles of Constructivism Le Corbusier/Pierre Jeanneret (1926) Five points towards a new architecture.

Le Corbusier (1920) Towards a new architecture: guiding principles Loos, Adolf (1908) Ornament and crime. van de Velde, Henry (1907) Credo van der Rohe, Ludwig Mies (1923) Working theses Wright, Frank Lloyd (1910) Organic architecture (excerpt)

Additional core texts CIAM (1933) Charter of Athens: tenets Friedman, Yona (1962) The ten principles of space town planning Gropius, Walter/Martin Wagner (1943) A programme for city reconstruction Kiesler, Frederick (1926) Space City architecture

Buildings to visit, photograph, draw and research Ashington House (Bethnal Green) http://www.british-history.ac.uk/report.aspx?compid=22754 Robin Hood Gardens (Poplar) http://modernarchitecturelondon.com/pages/robinhood-gardens.php Do your own research and add to this list. Use the following website for guidance: http://modernarchitecturelondon.com/

Bibliography Coe, Peter (1981) Lubetkin and Tecton: Architecture and social commitment : a critical study. Arts Council of Great Britain and the University of Bristol Giedion, Sigfried (1977) Space, Time and Architecture: The Growth of a New Tradition. Harvard University Press Le Corbusier (1986) Towards a New Architecture. Mineola, NY: Dover Publications, Inc. Conrads, Ulrich ed. (1975) Programs and Manifestoes on 20th-Century Architecture. The MIT Press Powers, Alan (E.d.) (2010) Robin Hood Gardens Re-Visions. Casemate UK Ltd Van der Rohe, Ludwig Mies (1959) On restraint in design, New York Herald Tribune, 28 June

4. Critically compare the modernist notion of “Less is more” (Mies van der Rhohe) with the postmodernist re-appropriation “Less is a bore” (Robert Venturi).

This is the most intellectually demanding question and will require the most reading. That said, if you tackle this question and put in the hard work required, you will find this level of challenge useful if you plan on progressing to university study next year.

You will need to establish very early on in your essay precisely what is meant by both ‘catchphrases’.

The modernist dictum ‘Less is more’, that simplicity and clarity lead to good design, is attributable to Mies van der Rohe1. You will be expected to be able give an account of Modernism as both a stylistic venture (‘Less is more’, ‘Form follows function’, the formal invention of treating space as a series ‘Planes’ that exist in time, etc.) and as a periodising critical category (‘New’, ‘Anti-tradition’).

Post-modernism is a far trickier to define conceptually than it is to recognise visually. You will be expected to give a visual account of key examples of post-modernism, but also to analyse their ideas in comparison to those of modernist architecture. It will be vital that you have attempted to read Venturi’s book ‘Complexity and Contradiction in Architecture’ to form a clearer idea as to these categorial differences.

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

1

Van der Rohe, Ludwig Mies (1959) On restraint in design, New York Herald Tribune, 28 June

Core texts De Stijl (1923) Manifesto V: - + = R4 Doesburg, Van and van Eesteren (1923) Towards collective building Gabo, Naum/Antoine Pevsner (1920) Basic principles of Constructivism Le Corbusier/Pierre Jeanneret (1926) Five points towards a new architecture.

Le Corbusier (1920) Towards a new architecture: guiding principles Loos, Adolf (1908) Ornament and crime. van de Velde, Henry (1907) Credo van der Rohe, Ludwig Mies (1923) Working theses Wright, Frank Lloyd (1910) Organic architecture (excerpt)

Additional core texts CIAM (1933) Charter of Athens: tenets Friedman, Yona (1962) The ten principles of space town planning Gropius, Walter/Martin Wagner (1943) A programme for city reconstruction Kiesler, Frederick (1926) Space City architecture Venturi, Robert (1992) Complexity and Contradiction in Architecture. The Museum of Modern Art, New York

Buildings to visit, photograph, draw and research Lloyds Building For examples of Modernist architecture check: http://modernarchitecturelondon.com/ You will need to do your own research in finding good examples of Post-Modern architecture in London.

Bibliography Conrads, Ulrich ed. (1975) Programs and Manifestoes on 20th-Century Architecture. The MIT Press Giedion, Sigfried (1977) Space, Time and Architecture: The Growth of a New Tradition. Harvard University Press Van der Rohe, Ludwig Mies (1959) On restraint in design, New York Herald Tribune, 28 June Venturi, Robert (1992) Complexity and Contradiction in Architecture. The Museum of Modern Art, New York

Melony

Ward,

XYZ

Books,

2002

in

the

Shadow

of

Adolf

Loos,

edited

by

Bernie

Miller

and

Crime

and

Ornament,

The

Arts

and

Popular

Culture

Reference with confidence: The Chicago style

Reference with confidence

The Chicago style As used in: English (as well as MLA) History

Reference with confidence: The Chicago style

Contents Why reference? ________________________________________ 2

Examples of the Chicago style _____________________________ 4

Chicago Frequently Asked Questions ________________________ 6

Further information ____________________________________ 8

Paraphrasing: some examples _____________________________ 9

Reference with confidence: The Chicago style

Why reference?

You will probably be aware that plagiarism is an important issue and you must avoid it at all costs, but do you know why referencing is so crucial to your essay writing?

References to other sources are useful and beneficial to presenting your argument; don’t be scared of using them. However, be selective. Don’t just cram your work full of citations in a bid to impress the marker that you’ve read a massive amount. Your references should be relevant and provide evidence for and against your argument.

For example, you can include a citation to‌ t HJWF B TPVSDF PG JOGPSNBUJPO FH UBCMFT TUBUJTUJDT EJBHSBNT FUD

t EFTDSJCF PS EJTDVTT B UIFPSZ NPEFM PS QSBDUJDF GSPN B QBSUJDVMBS XSJUFS t HJWF XFJHIU BOE PS DSFEJCJMJUZ UP ZPVS BSHVNFOU t QSPWJEF B DPVOUFS BSHVNFOU t QSPWJEF RVPUBUJPOT PS EFmOJUJPOT JO ZPVS FTTBZ t QBSBQISBTF BOPUIFS QFSTPO T XPSL XIJDI JT OPU DPNNPO LOPXMFEHF "EEJUJPOBMMZ UIF AJO UFYU DJUBUJPO JODMVEFE JO UIF CPEZ PG ZPVS UFYU JT UIFSF UP %*3&$5-: TIPX UIF SFBEFS XIFSF UIF JEFB BOE PS RVPUBUJPO JT GSPN Ç‘FSFGPSF XIFSF you are indicating the source as a chapter in a book, you include the citation to the author of the chapter. Within the bibliography you would put the full citation to the book with details of the editors.

2

3

Reference with confidence: The Chicago style

Basic common elements in a bibliography citation:

BOOKS:

Date of publication

Name of publisher

Place of publication

Title of book

Author’s name

Clarke, Alan. E-Learning Skills. Basingstoke: Palgrave Macmillan, 2008.

JOURNAL ARTICLES:

Page numbers

Date published

Issue number

Name of the journal

Title of article

Author’s name

Shaw, Peter. ‘Plagiary’, American Scholar, 51(Summer, 1982), 325-337.

Reference with confidence: The Chicago style

Examples of the Chicago style In-text citation How to reference within the text: iǑF SFMBUJPOTIJQ PG BEPQUFE TUZMFT UP TVCKFDU EJTDJQMJOFT XBT B MJUUMF BNCJHVPVT XJUI TDJFODFT BSFBT BOE DPNQVUJOH JOGPSNBUJPO UFDIOPMPHZ *5 JO QBSUJDVMBS TIPXJOH UIF most inconsistency.”1 It has been pointed out that one of the reasons for using this style is that you do not have citations within the text breaking up the flow of the reading.2

1

Colin Neville, The Complete Guide to Referencing and Avoiding Plagiarism.

(Maidenhead: Open University Press, 2007), 43.

2

Kathleen McMillan and Jonathan Weyers, The Smarter Student. (Harlow: Pearson Education, 2006), 240.

4

5

Reference with confidence: The Chicago style

Bibliography Your bibliography should be arranged alphabetically.

Type of source

Format

Book (one author)

Neville, Colin. The Complete Guide to Referencing and Avoiding Plagiarism. Maidenhead: Open University Press, 2007

Book (two or more authors)

Peck, John and Martin Coyle. The Student’s Guide to Writing.

Basingstoke: Palgrave Macmillan, 2005.

Chapter in an edited book

White, Edward. “Student Plagiarism as an Institutional and Social Issue.� In Perspectives on Plagiarism and Intellectual Property in a 1PTUNPEFSO 8PSME FEJUFE CZ -JTF #VSBOFO BOE "MJDF 3PZ /FX York: State University of New York Press, 1999.

Journal article

"TIXPSUI 1FUFS 1IJMJQ #BOOJTUFS BOE 1BVMJOF ǑPSOF i(VJMUZ JO 8IPTF Eyes? University Students’ Perceptions of Cheating and Plagiarism in Academic Work and Assessment.� Studies in Higher Education 22 +VOF

Website with author

4XBJO )BSSJFU iǑF "SU PG "WPJEJOH 1MBHJBSJTN w The Guardian.

IUUQ XXX HVBSEJBO DP VL FEVDBUJPO PDU TUVEFOUT Highereducation [accessed November 5, 2008].

Website with no author

1SJODFUPO 6OJWFSTJUZ i"DLOPXMFEHJOH ZPVS 4PVSDFT w IUUQ XXX QSJODFUPO FEV QS QVC JOUFHSJUZ QBHFT BDLOPXMFEHF IUNM <BDDFTTFE November 5, 2008].

Secondary referencing

In-text: Jude Carroll, â&#x20AC;&#x153;A handbook for deterring plagiarism in higher education,â&#x20AC;? Oxford: Oxford Centre for Staff and Learning Development;

2VPUFE JO 4VUIFSMBOE 4NJUI 8 1MBHJBSJTN UIF JOUFSOFU BOE student learning: Improving academic integrity. (Abingdon: Routledge, 2008).

4VCTFRVFOU SFGFSFODFT $BSSPMM RVPUFE JO 4VUIFSMBOE 4NJUI Bibliography: Carroll, Jude. â&#x20AC;&#x153;A handbook for deterring plagiarism in higher education.â&#x20AC;? Oxford: Oxford Centre for Staff and Learning %FWFMPQNFOU 2VPUFE JO 8FOEZ 4VUIFSMBOE 4NJUI Plagiarism, the internet and student learning: Improving academic integrity.

Abingdon: Routledge, 2008.

6

Reference with confidence: The Chicago style

Chicago Frequently Asked Questions How do I use quotations?

Use double quotation marks to enclose the direct text. For short quotations (of less than five lines), use a brief phrase to introduce the quotation and include the page number. For example: As Neville emphasises1, â&#x20AC;&#x153;you should cite all sources and present full details of these in your list of referencesâ&#x20AC;? (p.36) 1. Colin Neville, The Complete Guide to Referencing and Avoiding Plagiarism. (Maidenhead: Open University Press, 2007), 36.

For longer quotations (of five lines or more) you use a block quotation, without quotation marks, but clearly indented to indicate these words are not your own. For example: Neville comments that: It can sometimes be difficult, if not impossible, to avoid using some of the authorâ&#x20AC;&#x2122;s original words, particularly those that describe or label phenomena. However, you need to avoid copying out what the author said, word for word. Choose words that you feel give a true impression of the authorâ&#x20AC;&#x2122;s original ideas or action. 1 1. Colin Neville, The complete guide to referencing and avoiding plagiarism. (Maidenhead: Open University Press, 2007), 36.

For a summary or paraphrase, you must JODMVEF BO JO UFYU DJUBUJPO 'PS FYBNQMF According to Neville1, sometimes it is unavoidable you will use a few words that the author used.

1. Colin Neville, The Complete Guide to Referencing and Avoiding Plagiarism. (Maidenhead: Open University Press, 2007), 36.

When do I use page numbers in my in-text citations?

You should include page numbers within the footnotes for every quotation and paraphrase used.

What if an author I am referencing has published two or more works written by one author?

For all entries after the first, replace the individualâ&#x20AC;&#x2122;s name with a long dash.

Bibliography: Carroll, Jude. A handbook for deterring plagiarism in higher education.Oxford Centre for Staff and Learning Development: Oxford Brookes University, 2007. i%P OBUJPOBM TUBUJTUJDT BCPVU plagiarism tell you about your students?â&#x20AC;?

LINK newsletter on academic integrity, Ç&#x2018;F )PTQJUBMJUZ 4QPSU BOE -FJTVSF 4VCKFDU $FOUSF

7

Reference with confidence: The Chicago style

What if I want to use a number of sources in one in-text citation?

What happens if I cite the same source twice?

If you want to cite several sources, group them into a single footnote.

Ç&#x2018;F TFDPOE UJNF ZPV VTF UIF TBNF TPVSDF you can shorten the footnote information.

For example:

First footnote: Colin Neville, The Complete Guide to Referencing and Avoiding Plagiarism. (Maidenhead: Open University Press, 2007), 36.

As is widely stated in the literatureâ&#x20AC;Ś. 3 3. Colin Neville, The complete guide to referencing and avoiding plagiarism.

(Maidenhead: Open University Press, 2007), 36; Kathleen McMillan and Jonathan Weyers, The Smarter Student.

(Harlow: Pearson Education, 2006), 240; John Peck and Martin Coyle, The Studentâ&#x20AC;&#x2122;s Guide to Writing.

(Basingstoke: Palgrave Macmillan, 2005), 42.

What if I want to reference a work, in an in-text citation, that has more than four authors?

If a book or journal article has authors numbering more than four, use â&#x20AC;&#x2DC;et al.â&#x20AC;&#x2122; after the first author. For example: Bibliography: "OEFONBUUFO . FU BM i(VOTIPU JOKVSJFT EFUFDUFE CZ QPTU NPSUFN NVMUJTMJDF computed tomography (MSCT): A feasibility studyâ&#x20AC;?. Legal Medicine. 2008;

Second footnote: Neville, Complete Guide to Referencing, 38.

8

Reference with confidence: The Chicago style

What is the Chicago convention for using capital letters?

Capitalise first and last words of a title and all other words, except articles (a, an, the) and prepositions (of, in, at).

What abbreviations can I use?

Abbreviation

Meaning

anon.

anonymous

chap.

chapter

ed.

edition

et al.

and others

n.d.

no date

p.

Page (single)

p.p.

Pages (page range)

ser.

series

supp.

supplement

vol.

volume

Further information: Levin, Peter. Write Great Essays!

Maidenhead: Open University Press, 2004.

McMillan, Kathleen and Weyers, Jonathan.

The Smarter Student. Harlow: Pearson Education, 2006.

XXX DIJDBHPNBOVBMPGTUZMF PSH IPNF html

9

Reference with confidence: The Chicago style

Paraphrasing: some examples Ç&#x2018;F GPMMPXJOH JT UBLFO GSPN The Guardian newspaper: Is Persaud a narcissist, in other words, PS B NBO TP QMBHVFE CZ TFMG EPVCU UIBU he doesnâ&#x20AC;&#x2122;t obey the rules of academia because he doesnâ&#x20AC;&#x2122;t think he belongs in it?

He claims to have been so busy he became confused.

Williams, Zoe. â&#x20AC;&#x153;Persaudâ&#x20AC;&#x2122;s disorder, â&#x20AC;? The Guardian, June 20, 2008, 37.

An example of incorrect paraphrasing of this passage could be as follows: It could be questioned whether Raj Persaud was either a narcissist or full of TFMG EPVCU $PVME JU CF IF GFMU IF EJEO U belong to the world of academia, so didnâ&#x20AC;&#x2122;t have to obey the rules? Could he really have been so busy that he got confused?

This is incorrect paraphrasing because: t 0OMZ B GFX QISBTFT IBWF CFFO DIBOHFE this is not sufficient as it is too close to the original. t Ç&#x2018;F XSJUFS EPFT OPU FWFO HJWF B DJUBUJPO to the author of the article.

Correct paraphrasing could be as follows: Williams1 argues that Persaud could be viewed as a man consumed by ego, or alternatively, a writer that felt he didnâ&#x20AC;&#x2122;t belong to the academic community, so there was no need to abide by their conventions. Within the comment piece it is questioned whether overwork could be seen as a defence.

This is correct paraphrasing because: t 1SPQFS DJUBUJPO PG UIF BVUIPS BOE IFS JEFBT IBWF CFFO QSPWJEFE CZ UIF JO UFYU citation. t Ç&#x2018;F XSJUFS PG UIF QBSBQISBTFE QBTTBHF has written the argument in their own words.

Reference with confidence: The Chicago style

12552 / Design by Campus Copy & Print: www.york.ac.uk/designcopyandprint

www.york.ac.uk/integrity

Clare Wiggins Š 2011 Learning Enhancement Team

integrity@york.ac.uk