Degree Lecture Notes - Portfolio

Branding & Self-Identity:

Finding One’s Self within the Collective Voices of the Profession

Sketch of the WHY Hotel ELEVATION WORKSHOP / WEI architects Image source: http://www.archdaily.com/779469/why-hotel-elevation-workshop-wei-architects/567ecb26e58ecee28a00034b-why-hotel-elevation-workshop-wei-architects-diagram

Representing ME

Who am I as an architect?

Brand • A type of product manufactured by a particular company under a particular name.

• A particular identity or image regarded as an asset.

• An identifying mark burned on livestock or (especially in former times) criminals or slaves with a branding iron.

(Oxford Dictionaries, https://en.oxforddictionaries.com/definition/brand )

• a mark made by burning with a hot iron to attest manufacture or quality or to designate ownership • a class of goods identified by name as the product of a single firm or manufacturer (Merriam-Webster Dictionaries, https://www.merriam-webster.com/dictionary/brand )

The origin of its meaning tells us that it is an indelible mark left by its “maker” to indicate “ownership”.

What is in a Brand?

When one looks at a product, what distinguishes it from its peers and competitors?

How does one identify the identity of the designer in a brand?

“The real questions are: Does it solve a problem? Is it serviceable? How is it going to look in ten years?”

“Design is a plan for arranging elements in such a way as best to accomplish a particular purpose.”

“The details are not the details. They make the design.”

“We wanted to make the best for the most for the least.”

“Eventually everything connects - people, ideas, objects. The quality of the connections is the key to quality per se.”

“The details are details. They make the product. The connections, the connections, the connections. It will in the end be these details that give the product its life.”

The Architectural Portfolio

16

Clear Intention . Clear Curation . Clear Presentation

17

Clear Intention Personal Design Statement & Self Reflection

Q1. What are your inspirations and influences?

Q2. What is your view on Architecture?

Q3. What are your Design Philosophy and Values?

18

19

Curating the Projects

‘Building the theme for the Portfolio’ Look for dominant characteristics which may serve as unifying concepts for the design, layout, and sequencing of your portfolio. Refer to your programme or statement of intention to keep you focused on the selection of projects.

You should separate works that reveal your thought processes and your individual creative approach. Remember that your portfolio is always more than a collection of separate pieces.

Develop an underlying structure and narrative in a visual and intuitive way.

The portfolio is an important tool for self-presentation because it reveals in a graphical way, both the direction and the depth of your experience.

20

Type of Projects

School Projects,

Competitions, Professional works,

Works of Individual interests

21

22

23

24

25

26

Create your portfolio to be self-critical and to represent their own work Create a document that with intellectual honesty, describes the author’s without giving in to an passion. Simple with already established layout. absolute quility.

A good portfolio does not

By Cheungvogl I would care for what is betray the essence of the essence of one’s own work and is not architecture, and that is afraid of showing the difficult to define!

‘The most successful project is presented at the significant value of the

By Atelier Phileas beginning’ by b4architects work.

By demogo studio Don’t be afraid for your ‘Make that person feel interest in your portfolio to have a work page after page’ by arquitecto personal voice. Show that ‘don’t overdo it’. I you care about your work. would definitely pay Everything is important: attention to the An important issue to consider the type of paper you consistency of the graphics now is the rapid integration of choose, the type of and the content of the information for use in different binding, the font, the works media. Print and digital layout, quality of print,

By ARCHI[TE]NSIONS representations of work etc. Make sure your increasingly overlap now. It personal voice does not get appears possible that inkin the way of a clear and If I had to judge a based representations may self explanatory layout. portfolio, I would focus on soon become obsolete. The Give the viewer an overview what it can tell me about critical issue to remember first and let him know what the author besides the therefore, is the use of a she or he is in for without quality of the work. Is he narrative thread to explain taking all the highlights thoughtful or intuitive, work visually. Media and away at the beginning. You playful or serious…if this representation techniques want to offer surprises second layer of information may change, but the need for throughout your portfolio matches the qualities of a clear narrative will always while keeping the narrative the work presented, the remain. together. whole portfolio becomes

By CHA:COL

By B+U really strong.

‘A good selection and portability is our rule to

By Christian Lehmkuhl

make portfolio’ by David Garcia Studio

References: • • • • • • • • • •

• • • • • • • •

Pinky Chan, Project 1 Mask Making Revealing through covering, Webpage: http://chanchanpinqi.wix.com/architecture#!project-1/c1gr2 [Accessed: 2 April 2016] "Reflections / Daniel Libeskind" 22 Feb 2012. ArchDaily. Accessed 16 Apr 2017. http://www.archdaily.com/210036/reflectionsdaniel-libeskind/ “Daniel Libeskind” Pinterest. Accessed 16 Apr 2017. https://www.pinterest.com/teodoraghetea/daniel-libeskind/ Kelly Minner. "8 House / BIG" 20 Oct 2010. ArchDaily. Accessed 16 Apr 2017. http://www.archdaily.com/83307/8-house-big/ “Bjarke Ingels” Fast Company. Accessed 16 Apr 2017. https://www.fastcompany.com/3018779/64-bjarke-ingels Karissa Rosenfield. "Zaha Hadid Unveils New York Apartment Block Alongside High Line" 15 Jul 2013. ArchDaily. Accessed 16 Apr 2017. http://www.archdaily.com/402754/zaha-hadid-unveils-new-york-apartment-block-alongside-high-line/ “Zaha Hadid” StylePark. Accessed 16 Apr 2017. https://www.stylepark.com/en/designer/zaha-hadid Megan Sveiven. "AD Classics: Nakagin Capsule Tower / Kisho Kurokawa" 09 Feb 2011. ArchDaily. Accessed 16 Apr 2017. http://www.archdaily.com/110745/ad-classics-nakagin-capsule-tower-kisho-kurokawa/ Dorry-kun. “Nakagin Capsule Tower”. A Dash of Dorry. Accessed 16 Apr 2017. https://dorrykun.wordpress.com/2013/03/29/nakagin-capsule-tower/ “EAMES® MOLDED SHELL CHAIR (1950)” Design Within Reach, Accessed 16 Apr 2017. http://www.dwr.com/designer-charlesand-ray-eames?lang=en_US “Charles and Ray Eames”, Herman Miller Inc. Accessed 16 Apr 2017. http://www.hermanmiller.com/designers/eames.html “THE BEST FOR THE MOST FOR THE LEAST”, Eames Office, Accessed 16 Apr 2017. http://www.eamesoffice.com/the-work/thebest-for-the-most-for-the-least/ Alyn Griffiths, “Inside the world of Charles and Ray Eames, design's most illustrious couple” 30 Oct 2015, CNN Style, Accessed 16 Apr 2017, http://edition.cnn.com/2015/10/30/design/the-world-of-charles-and-ray-eames/ “Toys”, Eames Office, Accessed 16 Apr 2017. http://www.eamesoffice.com/catalog-category/toys/ “Films”, Eames Office, Accessed 16 Apr 2017. http://www.eamesoffice.com/catalog-category/films/ “Case Study House No. 8 (Eames House)”, CNN Style, Accessed 16 Apr 2017. http://edition.cnn.com/2015/10/30/design/the-worldof-charles-and-ray-eames/ “The timeline of a house & a household name”, The Eames Foundation, Accessed 16 Apr 2017. http://www.eameshouse250.org/timeline.html “Charles Eames Quotes”, Brainy Quote, Accessed 16 Apr 2017.https://www.brainyquote.com/quotes/authors/c/charles_eames.html

Further References: • Wang Shu Interview: Architecture is a Job for God [Video file]. Louisiana Channel. 27 March, 2017 . Retrieved from https://www.youtube.com/watch?v=n7S3rZ01X1U

BACHELOR OF SCIENCE (HONOURS) IN ARCHITECTURE

ARCHITECTURAL PORTFOLIO (GRA60203/ARC3732/ARC3733)

MODULE OUTLINE March 2017

Image: Transposition, lorenzo mattozzi architecture portfolio© (2010)

Architectural Portfolio (GRA60203 / ARC3732 / ARC3733)

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SCHOOL OF ARCHITECTURE, BUILDING AND DESIGN Centre for Modern Architecture Studies in Southeast Asia

Programme Module Prerequisite Credit Hours Classification Instructors

Bachelor of Science (Honours) in Architecture ARCHITECTURAL PORTFOLIO (GRA60203/ARC3732/ARC3733) Architectural Design Studio 5 (ARC60306/ARC3117) 3 Core Elective Nicholas Ng, (nicholasngkw@gmail.com; NicholasKhoonWu.Ng@taylors.edu.my) Chang Yan Yee (changyanyee@yahoo.com)

Module Synopsis The portfolio is the single most important document, record, and indication of the standard, competency, and interests of the individual designer/architect/student. It is locally, nationally, and internationally used for entry into design/architecture programs, postgraduate study, and for entry into the profession and private practice.

The module will assist students in preparing and presenting their portfolios both verbally and visually.

The module will be presented in the form of a studio with lectures, workshops, tutorials, student presentations, critiques, and class discussions.

The portfolio is a reconciliation of all streams within the program, (architecture design studios, technology and building environment studies, cultural, artistic and social studies, communication and professional studies) and is intended as a holistic mean of assessment of a student’s achievements; it should be in no means construed as a remedial class, a purely graphics or packaging exercise, or a reassessment of past design studios.

The student will demonstrate through the verbal and visual presentation of the portfolio that he/she can consciously determine a direction for his/her work, and assume responsibility for his/her continuing education.

Module Teaching Objectives The teaching objectives of the module are: 1. To introduce and discuss various approaches for the presentation of works in the format of a portfolio.

2. To introduce proficiencies and skills required in the production and design of a personal portfolio.

3. To aid the development of and enhance a student’s individual design statement and conceptualization skills.

4. To develop the student’s ability to understand and exercise discernment in the selection process of materials to be included in their portfolio

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Module Learning Outcomes (MLO) The objectives of the module are translated into a number of Module Learning Outcomes (MLO), mapped to Programme Learning Outcomes (PLO) and Taylor’s Graduate Capabilities (TGC).

No.

MLO

PLO

TGC 2.3 3.1 7.1

1

Develop and distinguish a personal design statement and direction

2

2

Strategize and organize the necessary resources (effective time management, application of software, etc.) for the production of a personal portfolio

1

2.2 3.2 4.1

3

Produce a compiled document of works that succinctly highlights the student’s personal design statement, acquired skills and intellectual capacities

5

1.3 4.1

Modes of Delivery and TIMeS This is a 3 credit hour module conducted over a period of 12 weeks. The modes of delivery will be in the form of lectures, discussion/tutorials, and self-directed study. The breakdown of the contact hours is as follows: § Lecture: § Discussion/Tutorial: § Self-directed study:

1 hour per week 4 hours per week 4.5 hours per week

TIMeS will be used as a communication tool and information portal for students to access module materials, project briefs, assignments and announcements.

Programme Learning Outcomes (PLO)* The Bachelor of Science (Honours) in Architecture programme has as its objectives that graduates exemplify the following Programme Learning Outcomes (PLO) that will enable them to: No.

Programme Learning Outcomes (PLO)

1

Produce designs at appropriate complexity and scales up to the schematic level using appropriate communication tools

2

Demonstrate understanding of cultural, historical and established architectural theories, philosophies and context

3

Demonstrate creativity, innovation and imagination and translate these into an architectural design solution

4

Develop design to a level for regulatory application for Building Plan submission that complies to the requirements of local authorities, including understanding of building regulations, basic building construction and materials, environmental considerations and building services

5

Translate design into construction drawings with appropriate construction details and use established architectural drawing convention

6

Work in a team and participate in the design process

*Source: The Manual of Accreditation for Architecture Programmes, Board of Architects Malaysia, 2013

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Taylor’s Graduate Capabilities (TGC) The teaching and learning approach at Taylor’s University is focused on developing the Taylor’s Graduate Capabilities (TGC) in its students; capabilities that encompass the knowledge, cognitive capabilities and soft skills of its graduates.

Taylor’s Graduate Capabilities (TGC) 1. Discipline Specific Knowledge 1.1 Able to put theories into practice 1.2 Understand ethical issues in the context of the field of study 1.3 Understand professional practice within the field of study 2. Lifelong Learning 2.1 Learn independently 2.2 Locate, extract, synthesize and utilize information effectively 2.3 Be intellectual engaged 3. Thinking and Problem Solving skills 3.1 Think critically and creatively 3.2 Define and analyze problems to arrive at effective solutions 4. Communication Skills 4.1 Communicate appropriately in various settings and modes 5. Interpersonal Skills 5.1 Understand team dynamics and mobilize the power of teams 5.2 Understand and assume leadership 6. Intrapersonal Skills 6.1 Manage oneself and be self–reliant 6.2 Reflection one’s action and learning 6.3 Embody Taylor’s core values 7. Citizenship and Global Perspectives 7.1 Be aware of and form opinions from diverse perspectives 7.2 Understand the value of civic responsibility and community engagement 8. Digital Literacy 8.1 Effective use of ICT and related technology

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Types of Assessment and Feedback You will be graded in the form of formative and summative assessments. Formative assessment involves participation in discussions and feedback sessions. Summative assessment will inform you about the level of understanding and performance capabilities achieved at the end of the module.

Assessment Plan No.

1

2

Assessment Components

Type

MLO

Assignment 1A: Portfolio Draft: -Curation, Creating Convention, Packaging

Formative

2

Assignment 1B: Personal Design Statement

Formative

1

Portfolio Draft Submission

Summative

2, 3

Portfolio Final Submission

Summative

Taylor’s Graduate Capabilities Portfolio

Summative

1-3

Total

Weightag e

50%

50% 100%

Assessment Components 1. Assignment 1 consists of 2 (Two) parts: – 50% A. : Portfolio Draft: Curation, Creating Convention & Packaging (40%) B. : Personal Design Statement (10%) Assignment 1A (Portfolio Draft: Curation, Creating Convention & Packaging): Curating and Idea Mapping: As a ‘Curator’ of your own work, you are required to reconcile your work of all streams within the program (architecture design studios, technology and building environment studies, cultural, artistic and social studies, communication and professional studies) and select the best FOUR projects to represent your personal direction and design approach.

Creating Convention: You are required to create a suitable format, size and graphic convention which will display your work effectively and translate your Personal Design Statement clearly.

Assignment 1B (Personal Design Statement): A Personal Design Statement is ONE A4 page that should be well written and intended to summarize the overall experiences of learning in the course and abilities to determine your personal values and direction in architecture. The word count for the paper is 400 words (max).

2. Final Project Submission (Complete Portfolio): – 50% Students are required to showcase your final portfolio visually.

3. Taylor’s Graduate Capabilities Portfolio (TGCP) The Taylor’s Graduate Capabilities Portfolio is a document that collates all assessments produced in a module and reflects a student’s acquisition of the Module Learning Outcomes and Taylor’s Graduate Capabilities. Each student is to develop an ePortfolio, a web-based portfolio in the form of a personal academic blog. The ePortfolio is developed progressively for all modules taken throughout Semesters 1 to 3, and culminates with a final Portfolio in printed form produced in the final semester.

The printed Portfolio must encapsulate the acquisition of Programme Learning Outcomes and Taylor’s Graduate Capabilities, and showcase the distinctiveness and identity of the student as a graduate of the programme.

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Marks and Grading Table Assessments and grades will be returned within two weeks of your submission. You will be given grades and necessary feedback for each submission. The grading system is shown below: Grade

A

Marks

80 –100

Grade Points 4.00

Definition

Excellent

Evidence of original thinking; demonstrated outstanding capacity to analyze and synthesize; outstanding grasp of module matter; evidence of extensive knowledge base.

Very Good

Evidence of good grasp of module matter; critical capacity and analytical ability; understanding of relevant issues; evidence of familiarity with the literature.

A-

75 – 79

3.67

B+

70 – 74

3.33

B

65 – 69

3.00

B-

60 – 64

2.67

C+

55 – 59

2.33

C

50 – 54

2.00

D+

47 – 49

1.67

D

44 – 46

1.33

D-

40 – 43

1.00

F

0 – 39

0.00

Fail

WD

-

-

Withdrawn

F(W)

0

0.00

Description

Good

Evidence of grasp of module matter; critical capacity and analytical ability, reasonable understanding of relevant issues; evidence of familiarity with the literature.

Pass

Evidence of some understanding of the module matter; ability to develop solutions to simple problems; benefitting from his/her university experience.

Marginal Fail

Evidence of nearly but not quite acceptable familiarity with module matter, weak in critical and analytical skills.

Fail

Insufficient evidence of understanding of the module matter; weakness in critical and analytical skills; limited or irrelevant use of the literature.

Withdrawn from a module before census date, typically mid-semester. [refer to Description 1 below].

Withdrawn after census date, typically midsemester. [refer to Description 2 below].

An interim notation given for a module where a student has not completed certain requirements with valid reason or it is not possible to finalise the grade by the published deadline.

IN

-

-

Incomplete

P

-

-

Pass

Given for satisfactory completion of practicum.

AU

-

-

Audit

Given for a module where attendance is for information only without earning academic credit.

Description 1: Week 3 to week 7 (inclusive) for long semester, or week 3 to week 5 (inclusive) for short semester. A short semester Is less than 14 weeks. Not applicable for audit and internship.

Description 2: After week 7 for long semester, or after week 5 for short semester. A short semester is less than 14 weeks. Not applicable for audit and internship.

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Module Schedule (subject to change at short notice)

Date/Week

Thursday, 30th March Week 1 Thursday, 6th April (Last day to add/drop a module) Week 2 Thursday, 13th April Week 3 Thursday, 20th April

Lecture/Presentation

Discussion/Tutorial

Self-directed Study

Hours

Hours

Hours

In-class Discussion: Curation of projects

Curating works

Intro to Module Outline and Briefing of Assignments Intro to Assignment 1: Curation of Projects and Personal Design Statement 1-1/2 Introduction to Graphics Convention and Packaging Design principles and theory of graphics convention 1-1/2 The Art of Branding & BIG Picture/Idea Mapping of idea and direction 1-1/2 Architecture Trajectory and Self Identity Personal design statement

Week 4 Thursday, 27th April Week 5 Thursday, 4th May Week 6 Thursday, 11th May Week 7 15th – 19th May Non-Contact Week

Thursday, 25th May Week 8

Submission: Assignment 1A & 1B Tutorial 1-1/2 Professional Graphics & Packaging Workshop Adobe InDesign / Illustrator / Photoshop 2 Professional Graphics & Packaging Workshop Adobe InDesign / Illustrator / Photoshop 2

2-4 In-class Discussion: What is the right format to present my folio & idea mapping?

2-4

4.5 Curating works, setting up framework for portfolio

In-class Discussion: Presentation

Setting up framework and format for portfolio

4.5

2-4 In-class Discussion: What is your ‘Personal Design Statement’ 2-4

Reading and writing

Presentation and Critique

Final Portfolio

2-4 In-class Discussion: Adobe In-design / Illustrator workshop 2 In-class Discussion: Adobe In-design / Illustrator workshop 2

4.5

4.5

4.5

Final Portfolio

4.5 Questions for Week 8 4.5

Mid-Semester Break

Who are we looking in the workforce?

Reviewer / Professional Architect Talk 1-1/2

Architectural Portfolio (GRA60203 / ARC3732 / ARC3733)

Question and Answer with reviewer

Final Portfolio

2-4

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Lecture/Presentation

Date/Week

Hours Thursday, 1st June

Thursday, 8th June (Online Course Evaluation and last day for Subject/Module Withdrawal with F(W) grade) Week 10 Thursday, 15th June (Online Course Evaluation and last day for Subject/Module Withdrawal with F(W) grade) Week 11 Thursday, 22nd June (Last day of Online Course Evaluation)

1-1/2

Tutorial / Workshops

1-1/2

Tutorial / Workshops

1-1/2

Final Submission

Week 12

1-1/2

Thursday, 25th July

Final Submission (Studio 6 included) and TGC Portfolio

Self-directed Study

Hours

Hours

In-class Discussion: Adobe In-design / Illustrator workshop 2-4

Professional Graphics & Packaging Workshop Adobe InDesign / Illustrator / Photoshop

Week 9

Discussion/Tutorial

Final Portfolio

4.5

In-class Discussion: Final layout and format

Final Portfolio

2-4

4.5

In-class Discussion: Final layout and format

Final Portfolio

2-4

4.5

In-class Discussion: Studio 6 Final Layout

TGC Portfolio

2-4

4.5

-

TGC Portfolio

Week 16 Note: The Module Schedule above is subject to change at short notice.

7

References Main References: 1. Caldwell, Cath, 2010. Winning Portfolios for Graphic Designers. Barron's Educational Series, Incorporated.

2. Cynthia L, Boran, 2009. Designing a Digital Portfolio (2 Edition). New Riders, United States.

3. Damdi, 2010. Portfolio Vol 1-5. Damdi Publishing Co, Seoul, Korea.

4. Keller, Maura, 2010. Design Matters - Portfolios 01. Rockport, United States.

5. Luescher, Andreas, 2010. The Architect’s Portfolio. Routledge, New York.

6. Taylor, Fig, 2010. How to create a portfolio and get hired. Laurence King, London. nd

Secondary References: Packaging 1. An\b, 2010. Card Board Book. an\b, Singapore.

2. Sandu, 2009. New Packing. Sandu, Singapore.

Graphics 3. Ambrose, Gavin, 2011. Approach & Language. AVA, Switzerland.

4. Angus Hyland & Steven Bateman. 2011. Symbol. Laurence King, London.

5. Index Book, SL. 2010. Basic Identity. Index Book, SL. Spain.

6. Index Book, SL. 2011. Basic Brochures. Index Book, SL. Spain.

7. PIE Books, 2009. Informational Diagram Collection. PIE Books, Tokyo.

8. Vivian Lei, Artpower, 2011. Blank: A Book on Printing. Artpowe, Hong Kong.

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GENERAL RULES AND REGULATIONS Student-centered Learning The module uses the Student-centered Learning (SCL) approach. Utilization of SCL embodies most of the principles known to improve learning and to encourage student’s participation. SCL requires students to be active, responsible participants in their own learning and instructors are to facilitate the learning process. Various teaching and learning strategies such as experiential learning, problem-based learning, site visits, group discussions, presentations, working in group and etc. can be employed to facilitate the learning process. In SCL, students are expected to be: § § § § §

active in their own learning; self-directed to be responsible to enhance their learning abilities; able to cultivate skills that are useful in today’s workplace; active knowledge seekers; active players in a team.

Attendance and Student Participation Attendance is compulsory. Any student who arrives late after the first half-hour of class will be considered as absent. The lectures and tutorials will assist you in expanding your ideas and your assessments. A minimum of 80% attendance is required to pass the module and/or be eligible for the final examination and/or presentation.

Students will be assessed based on their performance throughout the semester. Students are expected to attend and participate actively in class. Class participation is an important component of every module. Your participation in the module is encouraged. You have the opportunity to participate in the following ways: § § § § §

Your ideas and questions are welcomed, valued and encouraged.

Your input is sought to understand your perspectives, ideas and needs in planning module revision.

You have opportunities to give feedback and issues will be addressed in response to that feedback.

Do reflect on your performance in Portfolios.

Student evaluation on your views and experiences about the module are actively sought and used as an integral part of improvement in teaching and continuous improvement.

Late Submission Penalty The School imposes a late submission penalty for work submitted late without a valid reason e.g. a medical certificate. Any work submitted after the deadline (which may have been extended) shall have the percentage grade assigned to the work on face value reduced by 10% for the first day and 5% for each subsequent day late. A weekend counts as one (1) day.

Individual members of staff shall be permitted to grant extensions for assessed work that they have set if they are satisfied that a student has given good reasons.

Absenteeism at intermediate or final presentation will result in zero mark for that presentation.

The Board of Examiners may overrule any penalty imposed and allow the actual mark achieved to be used if the late submission was for a good reason.

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Plagiarism Plagiarism, which is an attempt to present another person’s work as your own by not acknowledging the source, is a serious case of misconduct which is deemed unacceptable by the University.

"Work" includes written materials such as books, journals and magazine articles or other papers and also includes films and computer programs. The two most common types of plagiarism are from published materials and other students’ works.

1. Published Materials In general, whenever anything from someone else’s work is used, whether it is an idea, an opinion or the results of a study or review, a standard system of referencing should be used. Examples of plagiarism may include a sentence or two, or a table or a diagram from a book or an article used without acknowledgement.

Serious cases of plagiarism can be seen in cases where the entire paper presented by the student is copied from another book, with an addition of only a sentence or two by the student.

While the former can be treated as a simple failure to cite references, the latter is likely to be viewed as cheating in an examination.

Though most assignments require the need for reference to other peoples’ works, in order to avoid plagiarism, students should keep a detailed record of the sources of ideas and findings and ensure that these sources are clearly quoted in their assignment. Note that plagiarism also refers to materials obtained from the Internet too.

2. Other Students’ Works Circulating relevant articles and discussing ideas before writing an assignment is a common practice.

However, with the exception of group assignments, students should write their own papers.

Plagiarising the work of other students into assignments includes using identical or very similar sentences, paragraphs or sections. When two students submit papers that are very similar in tone and content, both are likely to be penalised.

Guide for Writing References: -

http://taylorslibrary.taylors.edu.my/user_skills/user_support_students

Prepared by: Nicholas Ng Name of Module Coordinator

Checked by: Prince Favis Isip Name of SC

Approved by: Mohd Adib Ramli Name of PD/DD

…………………………….

…………………………….

…………………………….

Date: 24/3/2017 Date: 27/3/2017 Email: nicholaskhoonwu.ng@taylors.edu.my Stream Coordinator

Date: 3/4/2017 Program Director

(Prof’l Studies, Comm.& Doc. Skills)

Remarks: 1. The Module Outline is to be distributed to the students in the first week of the semester.

2. Any changes to the Module Outline shall be communicated (in writing) to the Programme Director and the approved revised version must be communicated to the students.

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Architecture Portfolio : The story behind the process

What’s in an architecture portfolio?

Architecture Portfolio: The story behind the process

Portfolio

Image source: https://visualizingarchitecture.com

2

Architecture Portfolio: The story behind the process

Visual

3

It’s more than a collection of pretty visuals ‌ Image source: http://architizer.com/blog/7-most-common-architecturalvisualization-styles/

Architecture Portfolio: The story behind the process

Process

4

‌ but a collection of your thoughts and creative process.

Image source: https://morganmelissakennedy.files.wordpress.com

These thoughts are documented through diagrams, drawings, models, and rendered images, compiled to form a narrative.

Architecture Portfolio: The story behind the process

Diagrams

Image source: http://www.archdaily.com/380542/sejong-artcenter-competition-entry-h-architecture-haeahnarchitecture

5

Architecture Portfolio: The story behind the process

Narrative

6

nar•ra•tive /ˈnerədiv/ noun noun: narrative; plural noun: narratives 1. a spoken or written account of connected events; a story • the narrated part or parts of a literary work, as distinct from dialogue • the practice or art of telling stories • a representation of a particular situation or process in such a way as to reflect or conform to an overarching set of aims or values. adjective adjective: narrative 1. in a form of or concerned with narration.

Image source: http://www.nendo.jp/en/works/drawer-house/

The Drawer House: The residential functions are condensed into one side of the wall, and can be pulled out when necessary, like drawers. A simple mechanism, but this adaptive and flexible space is very effective in the limited housing situation in Tokyo.

Architecture Portfolio: The story behind the process

Narrative

Image source: http://ashleymayes.co.uk

An architecture portfolio is not just a receptacle of stories but a discourse of ideas.

7

Architecture Portfolio: The story behind the process

Narrative

8

How you arrange your materials matters. Pick your content and gather your best ideas.

Image source: http://blog.buildllc.com/2014/04/a-students-guideto-the-architectural-portfolio/

But don’t feel the need to include everything.

Architecture Portfolio: The story behind the process

Narrative

Image source: http://ar3f.com/?portfolio=ar3f

9

Architecture Portfolio: The story behind the process

Narrative

10

It’s your story to tell.

Your drawings, models, photographs from field trips, sketches, these are your values. These values shows who you are as a designer, how you compile your thought process and how your represent your ideas.

Image source: http://mustardmiller.blogspot.my

Architecture Portfolio: The story behind the process

Samples

11

Architecture Portfolio: The story behind the process

Samples What not to do: 12

• Complicate things

Architecture Portfolio: The story behind the process

Samples What not to do: 13

• Complicate things

Architecture Portfolio: The story behind the process

Samples What not to do: 14

• Complicate things

Architecture Portfolio: The story behind the process

Samples What not to do: 15

• Complicate things • Over-design • Bulky / Impractical Packaging

Architecture Portfolio: The story behind the process

Samples What not to do: 16

• • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects

Architecture Portfolio: The story behind the process

Samples What not to do: 17

• • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention

Architecture Portfolio: The story behind the process

Samples What not to do: 18

• • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method

Architecture Portfolio: The story behind the process

Samples What not to do: 19

• • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method

Architecture Portfolio: The story behind the process

Samples What not to do: 20

• • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method

Architecture Portfolio: The story behind the process

Samples What not to do: 21

• • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method

Architecture Portfolio: The story behind the process

Samples What not to do: 22

• • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content

Architecture Portfolio: The story behind the process

Samples What not to do: 23

• • • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content Inadequate representation of architecture drawing

Architecture Portfolio: The story behind the process

Samples What not to do: 24

• • • • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content Inadequate representation of architecture drawing No margin / cropped text

Architecture Portfolio: The story behind the process

Samples What not to do: 25

• • • • • • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content Inadequate representation of architecture drawing No margin / cropped text Font selection Wrong representation of architecture drawings

Architecture Portfolio: The story behind the process

Samples What not to do: 26

• • • • • • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content Inadequate representation of architecture drawing No margin / cropped text Font selection Wrong representation of architecture drawings

Architecture Portfolio: The story behind the process

Samples What not to do: 27

• • • • • • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content Inadequate representation of architecture drawing No margin / cropped text Font selection Wrong representation of architecture drawings

Architecture Portfolio: The story behind the process

Samples What not to do: 28

• • • • • • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content Inadequate representation of architecture drawing No margin / cropped text Font selection Wrong representation of architecture drawings

Architecture Portfolio: The story behind the process

Samples What to do:

29

• Clear concept and direction

Architecture Portfolio: The story behind the process

Samples What to do:

30

• Clear concept and direction

Architecture Portfolio: The story behind the process

Samples What to do:

31

• Clear concept and direction

Architecture Portfolio: The story behind the process

Samples What to do:

32

• Clear concept and direction • Progress sketches to illustrate development of ideas

Architecture Portfolio: The story behind the process

Samples What to do:

33

• Clear concept and direction • Progress sketches to illustrate development of ideas

Architecture Portfolio: The story behind the process

Samples What to do:

34

• Clear concept and direction • Progress sketches to illustrate development of ideas

Architecture Portfolio: The story behind the process

Samples What to do:

35

• Clear concept and direction • Progress sketches to illustrate development of ideas

Architecture Portfolio: The story behind the process

Samples What to do:

36

• Clear concept and direction • Progress sketches to illustrate development of ideas • Cohesive graphics with clear intention

Architecture Portfolio: The story behind the process

Samples What to do: • • • •

37

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction

Architecture Portfolio: The story behind the process

Samples What to do: • • • • •

38

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture

Architecture Portfolio: The story behind the process

Samples What to do: • • • • •

39

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • •

40

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • •

41

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • •

42

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • •

43

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • • •

44

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure Effortless packaging

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • • •

45

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure Effortless packaging

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • • • •

46

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure Effortless packaging Clear indication of projects

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • • • • •

47

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure Effortless packaging Clear indication of projects Clear diagrams illustrating project intention

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • • • • • •

48

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure Effortless packaging Clear indication of projects Clear diagrams illustrating project intention White space / room to breathe

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • • • • • • •

49

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure Effortless packaging Clear indication of projects Clear diagrams illustrating project intention White space / room to breathe Study models are ok, too.

Architecture Portfolio: The story behind the process

Samples What to do: • • • • • • • • • • • • •

50

Clear concept and direction Progress sketches to illustrate development of ideas Cohesive graphics with clear intention Visual interest through texture without distraction Clear separation of project through color and texture Dynamic layout with adequate information Unconventional packaging material with simple intention Layout with clear underlying structure Effortless packaging Clear indication of projects Clear diagrams illustrating project intention White space / room to breathe Study models are ok, too.

What not to do: • • • • • • • • • • •

Complicate things Over-design Bulky / Impractical Packaging Difficulty in identifying projects Unnecessary graphic elements pulling away attention Wrong selection of binding method Poor content Inadequate representation of architecture drawing No margin / cropped text Font selection Wrong representation of architecture drawings

Where to begin?

Architecture Portfolio: The story behind the process

Layout Plans

51

• • • • • •

Start with a plan - a storyboard Be consistent - allow one overall uniform design Follow a logic sequence - narrative, set of drawings Calibrate density - breathe and don’t panic in open spaces Use a structure and own rules - use a grid Set up hierarchy - give images the right value, bold concepts, communicate your ideas with strength

Architecture Portfolio: The story behind the process

Storyboard Start planning

52

• Gather materials • Look at everything as a whole

Image source: http://www.blockprintsocial.com/15-real-life-moodboards-to-get-those-creative-juices-flowing/

Architecture Portfolio: The story behind the process

Storyboard

53

1: Thumbnail sketch of a storyboard

Image source: https://inspirationhut.net/inspiration/modernmagazine-re-design-transworld-surf/

2: Storyboard for a magazine

Architecture Portfolio: The story behind the process

Storyboard

54

3: Side-by-side comparison between a draft storyboard and final print

Image source: https://inspirationhut.net/inspiration/modernmagazine-re-design-transworld-surf/

Architecture Portfolio: The story behind the process

Consistency Uniformity

55

• Doesn’t have to be boring • Look for cohesiveness

Image source: https://www.behance.net/gallery/ArchitectureMinimal-Magazine/14884185? utm_source=Triggermail&utm_medium=email&utm_c ampaign=Net%20Activity%20Digest

Architecture Portfolio: The story behind the process

Consistency

Image source: https://www.behance.net/gallery/Portfolio-Booklet/ 9161207

56

Architecture Portfolio: The story behind the process

Sequencing Narrative

57

• Follow a logic sequence • Don’t skip ahead • Entice your readers

Image source: https://issuu.com/responsive-architecture/docs/ lilian02/c/smwmcdg

Architecture Portfolio: The story behind the process

Open Space Density

58

• Don’t be afraid of white spaces • Leave room to breathe

“ The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice.”

Architecture Portfolio: The story behind the process

- Josef Müller-Brockmann

Structure

59

Architecture Portfolio: The story behind the process

Structure

60

O R AN G EO R AN G E

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Architecture Portfolio: The story behind the process

Structure

60

O R AN G EO R AN G E

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Architecture Portfolio: The story behind the process

Structure

61

BRIDGES BRIDGES CO CO LL

LL

P S

P S

Architecture Portfolio: The story behind the process

Structure

61

BRIDGES BRIDGES CO CO LL

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P S

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Other Grids

Architecture Portfolio: The story behind the process

Structure

“Orange capital letters like us allways look good.

But what is that crazy set of rectangles we’re laying on?”

62

letters and art look good by themselves, but often structure is used to make them look better.

This is how to make a grid

By andrew Maher Typeface(s): Jean-Luc by Atelier Carvalho Bernau, http://carvalho-bernau.com

Sydney Festival Magazine Featuring the beautiful fonts: Serifa and Ambroise std Design by JCDecaux

ACT Museums and Galleries pamphlet

Architecture Portfolio: The story behind the process

Structure

Curio Featuring the free font - Acid

63

Architecture Portfolio: The story behind the process

Structure The Grid • • • •

64

Begin defining your area Plan your grid Don’t ignore the margins Remember the gutters

Gutter

Margins

Architecture Portfolio: The story behind the process

Hierarchy Scale

65

• Give images the right value • Communicate your ideas with strength • Identify importance and hierarchy of information

Architecture Portfolio: The story behind the process

Hierarchy Typography

66

• Basic three-level approach

Level One • Generally your most important content. Should be the most immediate visible typographic element in your design.

Level Two • Typically to visually organize your design into sections or group related information together. They shouldn’t stand out as much as level-one type, but should be clear to viewers to identify the different parts and help them navigate easily.

Level Three • For text-heavy layout, level-three typography is generally the complete message, purpose or details of design. Primary concern is readability should be high, since the font size will likely be small.

Image and source: https://designschool.canva.com/blog/visualhierarchy/

Architecture Portfolio: The story behind the process

Format / Size

67

Architecture Portfolio: The story behind the process

Format / Size

68

The final portfolio size:

Architecture Portfolio: The story behind the process

Format / Size

NO smaller than A5 NO bigger than A3

69

Architecture Portfolio: The story behind the process

Binding Fastening

70

• Choose your binding wisely • When in doubt, do a mock-up

Architecture Portfolio: The story behind the process

Packaging Presentation • Simplicity is the key

71