Syllabi architectural and urban design: Nina Milkova Ilieva by Nina Ilieva

The Fourth Year Design Studio (Design V and VI) will consist of two separate semester long projects. In the fall semester students complete Design V, the Community Design Studio. NYIT’s Community Design Studio has been a tradition for more than two decades. The aim of the Studio is to introduce students of Architecture to broad planning and urban design strategies that are demonstrable at a human scale. At the same time, we offer our collective efforts to communities and public planning agencies who seek bold ideas and creative vision. Hence, the Community Design Studio is run as a competition of ideas among teams of students. The spring semester Design VI is a comprehensive building design studio. It is the last studio before students begin their thesis work. During the semester long project, students produce a design developed to a high degree of completeness and formal resolution. Emphasis is placed on design issues such as site, context, structure, building form, sustainability and materiality. The fourth year design program is a bridge from the previous studio curriculum to the thesis program. It provides students with an opportunity to confront issues related to the design of a single building as well as issues of neighborhood and open space design. During the fall Community Design Studio interaction with the Master’s program in Urban and Regional Design will provide insight to the profession of Urban Design. The Design Curriculum in Perspective: It is important throughout your education as an architect to have an overview of the curriculum. The studio is the place where a synthesis of previous course work in technology, structure, city planning, history and theory can occur. The Fourth Year Studio is also the laboratory for developing innovative design proposals that are cognizant of the information and tools acquired during the previous three years of study. Through design, all of these skills are brought to bear on a single project site.

The evolution of Pz. della Santissima Annunziata, Florence, 1427-1629

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NEW YORK INSTITUTE OF TECHNOLOGY School of Architecture + Design Design V – ARCH 401 Community Design Studio, Fall 2010 Dean Judith DiMaio Coordinators: Professor John Di Domenico & Professor Janet Fink

Let’s spend a few minutes to put the design curriculum into perspective: It is assumed that your first year Fundamentals work is as critical to this design studio as your last year’s work. In the Fundamentals Program, basic principles of architecture were presented along with graphic techniques to communicate ideas about the making of space. In the Second Year design program the relationship of form, function and structure in the design of buildings is stressed. These issues not only pertain to form but they also are inherent to the surrounding site of a building, whether it be an open “natural site” or an “urban site”. Much as a building is seen as a “structure” in the broad sense of the term -- as a set of integrated and coordinated elements -- so too, a site has a “structure”: a Morphology. Hence, the concept of an ordered building structure, as learned in the second year design program may be applied to the structure, or Morphology, of a site or neighborhood. The formal, functional and technological context can be seen as a latent structure into which a new structure or structures can be placed to reinforce, enhance, clarify, complete, or transform a place. Thus, once the existing conditions are observed, analyzed and understood, one of the decisions that must be made among all those that make up the design “concept” or “parti” is how to shape the relationship between building and site. In this way the process of identifying order in a building may be applied to defining an order for a network of buildings and open spaces. To help identify the “latent” structure of an environment, certain analytical “tools” are used. In the Third Year design program, the methodological development of a process of architectural analysis has equipped you with another resource to consciously draw upon to assist your creative intuitions. The process of developing analytical studies of circulation, public/private, textural/figural and other examinations of cultural/social phenomenon introduced in the third year design program may be applied to the analysis of the urban landscape in Design V and the comprehensive building design in Design VI. The Fourth Year, as a threshold to the thesis program, is dedicated to urban design in Design V and comprehensive building design in Design VI. Collectively, the two design studios examine the scale of design which extends from an entire neighborhood to a single building. The study of design ideas at such a range of scales and complexity should reflect your academic maturity and desire for intellectual challenge. The Fourth Year establishes the breadth of design investigation, from the neighborhood scale to the comprehensive building design that will be required in Thesis. The National Architectural Accrediting Board (NAAB) defines criteria for accreditation in three “Realms.” Each represents a distinct component of professional education. The Realms include Critical Thinking and Representation, Integrated Building Practices and Leadership and Practice. Noted below are the specific criteria that are to be addressed in Arch 401, Design V. The assessment of the criteria will be in the presentation of the team assignments noted under the section: Studio Requirements in this course booklet. Realm A: Critical Thinking and Representation A.5

Investigative Skills: Ability to gather, assess, record, apply and comparatively evaluate relevant information within the architectural coursework and design processes.

Realm C: Leadership and Practice C.1

Collaboration: Ability to work in collaboration with others and in multidisciplinary teams to successfully complete design projects.

C.3

Client Role in Architecture: Understanding of the responsibility of the architect to elicit, understand and reconcile the needs of the client, owner, user groups, and the public and community domains.

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St. Peter’s, late 16th century. St. Peter’s in plan, by Michelangelo, 16th century. St. Peter’s in plan, by Letarouilly, early 19th century.

Historical Perspective on Making Cities: Aside from a historical involvement with utopian thinking and isolated instances of designing new cities or major additions to existing cities, architects have generally only been involved in planning portions of a city. These projects may take decades to complete and may also involve underutilized areas of cities with newfound potential. Often, a project initiated by one design group may evolve through a slow process and years later be completed by a subsequent design team. The Louvre in Paris and St. Peters in Rome are canonical examples both of which were constructed by several architects with multiple plans over a period of more than a century. Other more recent examples of several architects contributing to an organized urban plan include Battery Park City, New Berlin and more recently, the World Trade Center site. These examples, among others that you will become familiar with from your City Planning studies and your on-going involvement with precedent collection and analysis in the studio, demonstrate the architect’s role in the dynamic transformation of the city. In many of these cases, the architect had a plan that recognized existing conditions—an acknowledgement that the city and its architecture can proceed in an evolutionary way over time. It is possible for architecture to participate in, rather than control, urban dynamics. Such architecture involves the same kind of idea or “parti” which builds relationships between form, space and social and cultural conditions. In this way the architect is a force in both planning and urban design. In Design V, issues of planning, urban design, architecture and landscape are within the scope of your responsibility. Community Design Studio The Community Design Studio is a unique vehicle able to influence the future development of a community. Unlike previous design studios, here you will not only visit a site but also speak with planners and activists involved in shaping land use policy in Lower Manhattan. Urban designers and planners from the Hudson Square Business Improvement District (BID), Community Board 2 and the Port Authority will meet with us to present their ideas for the future of Lower Manhattan. Following the site visit on Tuesday, September 21st, an all-campus meeting will be held at a location in the community to be announced. The planners, urban designers and community representatives will also join us at the final design review where you will have an opportunity to publicly present your ideas for Lower Manhattan. They will be joined by invited guests from the professional architecture and landscape architecture fields who will select several exemplary proposals for recognition. However, the final design review format will differ significantly from your previous design studios; you will not verbally present your project. As a design competition, all team’s final boards shall be reviewed in private by the jury who will subsequently announce their selections to students and faculty.

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NEW YORK INSTITUTE OF TECHNOLOGY School of Architecture + Design Design V – ARCH 401 Community Design Studio, Fall 2010 Dean Judith DiMaio Coordinators: Professor John di Domenico & Professor Janet Fink The Community Design Subject Area: Lower Manhattan West The Lower West Side of Manhattan has changed dramatically over the past 4 decades. An area once occupied by warehouses and industrial uses it is now comprised primarily of two communities referred to as Hudson Square, south of Houston Street and Tribeca, the triangle below Canal. Canal Street bisects the neighborhoods as it moves across Manhattan island west to east from the Holland Tunnel to the Manhattan Bridge.

View east on Canal Street illustrates the impact of Holland Tunnel Traffic on the community.

At first glance the communities appear similar. Look closer, however, and their differences become apparent. Tribeca has transformed into a community of residents, many living in large lofts. A number of popular upscale restaurants are at street level. In Hudson Square, the large masonry buildings are more likely to be commercial office spaces occupied by design and media firms. Several new residential buildings have been constructed following a recent zoning change west of Hudson St. and north of Canal Street. Both neighborhoods now have uses very different from the manufacturing and warehousing activities once there. As such there are limited community resources, recreational infrastructure and green space. As this area continues to transform it faces many challenges. Although the building stock has been transformed there is a lack of green space and access to the water’s edge is still very limited. There are several sites that are under consideration for development and others that may be re-visioned. The challenge for the studio is to investigate the area, identify the opportunities and constraints and develop a program for making a more sustainable community. To accomplish this it will be necessary to think about intervention at different scales. This will involve looking at the broad influences that are exerted on Hudson Square and Tribeca from the surrounding area and region. For example, think of how Canal Street and the Holland Tunnel influence the physical and social character. Or, how does the Hudson River Park has the potential to provide recreational opportunities to residents for several miles up and down the Hudson River. To best understand these broad influences it will be necessary to examine a large area of Lower Manhattan which we will refer to as the Study Area (highlighted with a green line on page 5.) When your investigation is complete your design Team will want to make recommendations for change in the area. This is referred to in the course outline as the Study Area Master Plan.

The water’s edge in Lower Manhattan has been designated a high risk - flooding hurricane evacuation zone. From On the Water: Palisade Bay, by Guy Nordenson, et al.

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Once aware of the influences over a large area the scale of the investigation will shift to a much smaller zone for intervention. This zone, the Project Area, will be the focus of the design Team’s study (area shown with a yellow line on page 5). It is within this area that more specific open space or building design proposals will be proposed. A more detailed description of these areas and a map follow.

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Study Area: This semester you will be involved in design at different scales. The Study Area is the large scale neighborhood that is the subject of our investigation. Initially, your focus will be on the neighborhoods of Hudson Square and Tribeca and the road that bisects them, Canal Street. The study of Canal Street is important because its influence as a thoroughfare transcends these two neighborhoods as it provides a vehicular and truck link from Brooklyn through Manhattan to New Jersey. The Study Area investigation and analysis will include graphic mapping of the physical and social structure of these two communities and the road that bisects them. The analysis should record land use, transportation, and the potential impact of proposed development. Following their Study Area analysis each team will prepare a Study Area Master Plan to address the following: -

Recommended infrastructure improvements. Open space recommendations for streetscape and parks. Recreational proposals of particular interest should be neighborhood access to the Hudson River Park and the water’s edge. Land use and proposed building massing indicating the proposed character of areas that may be developed in the Study Area. Transportation improvements that may include public transit or proposals for traffic and pedestrian networks.

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Project Area:

Recent housing construction is the result of new zoning

Canal Park at West Street

The more specific area where intervention is proposed is the Project Area. After the investigation and “broad stroke” for the design of the Study Area, each team will focus their efforts on one (or more) “sites” within the zone defined as the Project Area. It is within this area that a detailed program should be developed along with the conceptual design of open space and any buildings. Three general locations within the Project Area have been identified for intervention. 1) Holland Tunnel Entry: This area around the portal to the tunnel is currently dedicated to vehicles entering the tunnel. It is a large open space that has the potential to be more multi-functional. Can it become a more valuable and user-friendly resource for the surrounding community? 2) Improved Connectivity to the Waterfront: The water’s edge has been developed with the construction of the Hudson River Park, however, connectivity to the park and water’s edge remains somewhat tenuous. Consider ways to improve the “linkage” which may be as pragmatic as suggesting areas to improve pedestrian access or more dramatic with plans to reconfigure the relationship of the land to the water’s edge. 3) Community Development and Greening: Within the Project Area there are several vacant sites and underutilized structures. Evaluate these locations and consider how they may be developed or incorporated in a network of neighborhood open spaces that would make movement through the community more comfortable. Design Parameters: Each team will prepare a Study Area Master Plan with their conceptual strategies. Then, a Project Area Urban Design Plan will define more specifically the key aspects of the design for the area. The Project Area Urban Design Plan will be based on a program of activities prepared by the team. Although the general size and volume of the program will be the same, the specifics will vary from team to team. Invention of program, based on the investigative studies early in the semester, is encouraged. Some of the program possibilities include: - Public Open Space/Performance Space(s) - Residential - Hotel - Cultural/Institutional/Visual Arts/Media - Recreational/Health - Entertainment/Retail - Environmental Remediation - Education

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Studio Process Students are evaluated on the process as well as the products of their project. Several graded reviews will mark the student's progress over the semester. Because the studio is recognized as the setting for discourse and the exchange of ideas, students are expected to attend each class. Studio participation is necessary to developing an independent, self-critical means of working, both in preparation for the Thesis year as well as your entry into the profession. The faculty is under no obligation to review a student's work if there is no indication that the work has advanced since the previous meeting. On such an occasion, the student will be recorded as absent from the studio. A student will be automatically withdrawn from the course following the third unexcused studio absence. The work of the team is evaluated in class, during desk crits, pin-ups, and interim and final reviews, as a whole; however students are graded individually on their work. Each student shall submit a portfolio of the work of the semester including photocopy reductions and digital files of all drawings, model photographs and development sketches no later than December 14, 2010. Teams and Design Collaboration The Community Design Studio requires students to work in teams and collaborate on their design. The teams may have a maximum of 3 students each. The team will be responsible for mid-semester and final presentations. These presentations will include a Study Area Master Plan for Lower Manhattan West and a more detailed Project Area Urban Design Plan that includes proposals for improving open space, access to the Hudson River Park and waterfront and perhaps new development on vacant and “soft” sites. For the Project Area Plan, each team is responsible for an Illustrative Site Plan and Section. The purpose of the section is to highlight the open space design and illustrate the relationship between open space, proposed building massing and connectivity to the water. In addition, each team member is responsible for the architectural and/or open space design of a critical element of their Project Area Plan. Studio Requirements Initially, each studio class will organize teams (varied in size to match the analysis workload) to observe /collect / document / analyze the study area. Students should evaluate the background material assembled for the studio and incorporate it accordingly in their work, providing appropriate credit where due. Edge conditions where the city meets the water, The material will be reviewed on September 28th and provided on CD for from On the Water: Palisade Bay, by Guy Nordenson, distribution on both campuses. et al.

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Graphic mapping and investigation/analysis of thePhysical/Structure of the Lower Manhattan Study Area. 1). Context plan of the Hudson Square/Tribeca area in relation to the five (5) New York City Boroughs/New Jersey and the region. 2). Figure ground of study area. 3). Separate mapping of transportation, parks and recreation areas, community resources, subway and bus stops, general land use and visual character. 4). Analysis of bulk and program of existing proposals.

Graphic Mapping and Analysis of Physical and Social Structure of the area. 1). Base Line Plan at 1"=200' showing buildings, sidewalk, parks, roads, etc. 2). Land use plan of the Hudson Sqaure/Tribeca Study Area.

Photographic documentation. 1). The photos should convey the "character" of the various areas within the area and a key plan should locate the photos.

Visual history of the area. 1). Collect historical facts / data about urban morphology, landmarks, population growth and history (settlement patterns, ethnic makeup, social history, etc.) and present in graphic form. All documentation must be prepared for digital submission but should be presented on boards.

II. Design Agenda The level of investigation should become progressively more focused during the course of the semester. Thus as the design moves from the scale of the community Study Area, to the scale of a Project Area and then to an architectural scale, the level of design detail must also be enhanced. This is why the process is referred to as design development, not enlargement. Due: September 28, 2010 Precedent Study and Lower Manhattan Analysis – Study Area Each student is to locate and document in plan or axonometric one scaled plan of a significant historical or contemporary community that has an edge on a waterway, or section of a city on the water that represents some idea, intention or vision that is related to the design problem. Analysis of Lower Manhattan Study Area presented. Due: October 19, 2010 (C.1) Study Area Master Plan Graphic indication of a formal plan with overall intentions for building/transportation and open space. (scale to be determined) This is the Study Area Master Plan and may include proposals for infrastructure such as transportation and green space. -

Project Area Urban Design Plan for Specific Sites 1"=200' Graphic indication of proposed areas of intervention with program indicated. Each team to identify their project area for a more detailed intervention. This could be the Holland Tunnel entry area or other location within the Project Area selected by the team as critical for their plan. Define massing and open space for proposed development. Design V – Arch 401 Page 8

Due: November 9, 2010 (C.1) Presentation of Program for the Project Area. 3D Color coded drawing (or physical model) that illustrates the program on the selected Project Area sites. -

Presentation of Project Area Plan 1"=100. Project Area Sections (minimum: 2) 1"=100. Project Area Model/3-D. Rendered Views of Project Area.

Due: December 7, 2010 (C.3) Final Presentation to Community and Guests Study Area Master Plan Project Area Urban Design Plan Site and sectional drawings of selected Study Area. 1” = 20’ Design of architectural elements and open space critical to the success of the Project Area Plan. 1/32” = 1’-0” 3D digital or physical models. Rendered views of Project Area.

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NEW YORK INSTITUTE OF TECHNOLOGY School of Architecture + Design Design V – ARCH 401 Community Design Studio, Fall 2010 Dean Judith DiMaio Coordinators Professor John di Domenico & Professor Janet Fink

Schedule 1

Sept. 10

Teams Formed. Analysis and Precedent Study reviewed in Studio

Sept. 14

Sept. 17

Sept. 21

Sept. 24

Sept. 28

Presentation: Study Area Analysis and Precedent Analysis

Oct. 01

Presenter: Rob Lane; Architect and Urban Designer, RPA

Oct. 05

Pin-up: Study Area Plan

Oct. 08

Oct. 09

Open House New York / Tours of Hudson Square

Oct. 12

Presenter: Karin Bacon; Urbanist, Event Planner

Oct. 15

Oct. 19

Site Visit (2 pm) and Meeting with Community Representatives

Mid-Semester Presentation: Study Area Plan, Proposal for Project Areas, Massing and Open Space

Oct. 22

Oct. 26

Oct. 29

Nov. 02

Nov. 05

Nov. 09

Nov. 12

Nov. 16

Nov. 19

Nov. 23

Nov. 26

Nov. 30

Dec. 03

Dec. 07

Final Presentation (Location to be announced)

Dec. 10

Team / Individual Evaluations

Dec. 14

Portfolios Due (8 1/2 “ x 11” and Digital Files)

Pin-up: Program Review with Massing and Open Space Plan

Pin-up: Project Area Plan, Section and 3-D Image/Model

No Class

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Bibliography Bacon, Edmund. Design of Cities. New York: Viking Press, 1977. Berger, Alan. Drosscape: Wasting Land in Urban America. New York: Princeton Architectural Press, 2006. Farr, Douglas. Sustainable Urbanism: Urban Design with Nature. Hoboken: Wiley, 2007. Jacobs, Allan B. Great Streets. Cambridge: MIT Press, 1995. Jacobs, Jane. The Death and Life of Great American Cities. New York: Random House, 1971. (in particular, Part Two: “The Conditions ofd Diversity,” pp. 143-222). Koetter, Fred and Rowe Colin. Collage City. Cambridge: MIT Press, 1978. Lynch, Kevin. Image of the City. Cambridge: MIT Press, 1960. Maas, Winy and John Thackara. Green Dream. Rotterdamn: NAi Publishers, 2010. Mostafavi, Mohen and Gareth Doherty. Ecological Urbanism. Baden: Lars Müller Publishers, 2010. Nordenson, Guy, Catherine Seavitt, and Adam Yarinsky. On the Water: Palisade Bay. New York: The Museum of Modern Art, 2010. Rossi, Aldo. The Architecture of the City. Cambridge: MIT Press, 1984. Shane, David G. Recombinant Urbanism: Conceptual Modeling in Architecture, Urban Design and City Theory. Hoboken: John Wiley & Sons, 2005. Tschumi, Bernard. Event Cities. Cambridge: MIT Press 1994. Venturi, Robert, Steven Izenour and Denise Scott Brown. Learning from Las Vegas. Cambridge: MIT Press, 1977.

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The following electronic references are for information about the Study Area and Sustainable Communities: “Canal Park.” New York City Department of Parks & Recreation. 2003. <http://www.nycgovparks.org/sub_about/parks_divisions/capital/pd_proj_month_mar_03.html> “Canal Street Park.” Case Studies. Sam Schwartz Engineering. < http://www.samschwartz.com/CaseStudies/CanalStreetPark.aspx> Gorsche, Jennifer K. “Planning for Overflow on Canal Street”. Aug 2, 2010. The Architects Newspaper. <http://www.archpaper.com/e-board_rev.asp?News_ID=4715> Hudson River Park. <http://www.hudsonriverpark.org/> “Hudson River Park.” PlanNYC. August 12,2009. <http://www.plannyc.org/taxonomy/term/719> “Neighborhood at Risk – Soho Extension. Historic District Council. <http://www.hdc.org/neighborhoodatriskSoHoExt.htm> “North Tribeca Rezoning.” NYC Department of City Planning. June 2010. < http://www.nyc.gov/html/dcp/html/north_tribeca/index.shtml> Soho Alliance. <http://www.sohoalliance.org/> “Smoothing Out Canal Street.” Lower Manhattan Construction Command Center. Oct 6, 2003. <http://www.lowermanhattan.info/news/smoothing_out_canal_street_99774.aspx> “Tribeca Historic Districts and Proposed Extensions.” Historic Districts Council. <http://www.hdc.org/boundariestbc.htm> Sustainable Communities Network http://www.sustainable.org PlanNYC 2030 http://www.nyc.gov/html/planyc2030 American Society of Landscape Architects Sustainable Design: http://www.asla.org/ContentDetail.aspx?id=23122 Livable Communities: http://www.asla.org/ContentDetail.aspx?id=23268 American Planning Association http://www.planning.org/nationalcenters/green/ US Environmental Protection Agency (EPA) http://www.epa.gov/region2/sustainability/greencommunities/ Design V – Arch 401

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Course information Parsons The New School For Design School of Design Strategies Fall 2013 â&#x20AC;&#x201C; UURB 3031-City Studio; CRN Thursday (4:50 - 8:30 pm) Faculty: Nina Milkova Ilieva

Course Description: The Urban Core Project Studio ( 3 credits) are interdisciplinary, collaborative project driven courses for advanced undergraduate students that function as capstone experience . These courses are capped at 18 students, and an take variety of forms including but not limited to civic engagement projects, entrepreneurial or consulting projects, design projects, and interdisciplinary research projects. These are hand-on courses whose main pedagogical vehicle is the project, and the main engagement component to them. The outcomes of these courses will be assessed by the standards of project-based learning. The main objective of the Urban Core Projects is to bring students from a variety of divisions together trough team work and collaboration.

Course Outline: The main goal of the course is to serve as an educational vehicle on how to effectively get engage and make a positive change in our current physical, social and ecological urban environment. The unique cross-disciplinary approach developed in this class, will enable the students to observe and analyze the complexity of our urban life in more holistic way. This understanding is an important step in developing an innovative, environmentally and socially responsible urban transformation. The students will not only learn the traditional methods and tools for developing their urban interventions, such as physical scale models, drawings, 3D images and movies, but also will learn how to directly engage in negotiations between the government, investors and community, developing innovative business models and marketing strategies, which will enable them to get support for their visions, from different profit and non for profit organizations.

Case study 2: Brooklyn -Bed Stuy:

The case study will focus on the one-mile stretch, along Fulton Street from Bedford Avenue to Troy Avenue, providing residents with space to live, work, and shop. Critical to this effort is the enhancement of physical conditions along the Bed-Stuy Gateway Business Improvement District. Cities are engaged in radical transformations: This transformations applies both to morphology ( form) and to their metabolism. This entails also for example new ways of sharing collective space and methods of governance. It requires a chronotypical approach, blending the spatial and temporal dimensions and, for example, establishing temporal projects for spaces. The city by nature is a place that maximizes interactions but also a place for separation. An attractive city or neighborhoods is an organized space where people meet and communicate. The question of urban intensity and community is essential. The Our lifestyle has been changed , but the making of city , the materiality of the city, has not always adapted to the new life cycle. Another observation is that buildings are used almost mono -functionally, as are districts and public spaces. Time is an essential dimension as a key for to understanding the dysfunctions of the city and as lever in the context of sustainable development. We are looking at the city with multiple timeframes. The city should also be thought of as a place that is not only used by residents. The city is made just as much as for people passing through: workers, visitors, users. What we do when activities start sharing the same spaces and the same building. The spatial and temporal boundaries of these activities needs to be established.

Our project is in response to the effort of the Comprehensive Neighborhood Economic Development (CNED), and the City’s economic development agencies, around a shared goal of building and revitalizing the residential and business communities of BedfordStuyvesant. CNED is leading efforts to increase resident self-sufficiency and improve commercial markets to meet local retail needs, increase consumer traffic and support the attraction of new and diverse businesses to the neighborhood. “Bedford-Stuyvesant, more commonly known as Bed-Stuy, is a neighborhood in transition. Not long ago it was known as the largest ghetto in the US. Mary H. Monomi opened her 1973 book on Bed-Stuy asking: “Why would anyone want to live there?” Today it would be interesting to ask the opposite question: “Why do so many people want to live there?” Although the neighborhood can no longer be reduced to that identity, the ghetto is still present in Bed-Stuy. Almost half of the households live with less than $25,000 a year. Crime continues to be well above the city average, abandoned buildings and vacant lots are still part of the landscape, and the motto of Bed-Stuy is still “do or die.” However, recent social, demographic transformations are changing the neighborhood’s identity” Matias Echanovet

Learning Outcomes: 1. Critical Thinking and Representation Investigative Skills: Ability to gather, assess, record, apply and comparatively evaluate relevant information within the urban design coursework and design processes. 2. Learn in expressing and understanding in Visual and Tactical Media ( physical models, graphic/visual presentations, videos) Physical model , presentation booklet, web presents. 3. Leadership and Practice: Collaboration: Ability to work in collaboration with others and in multidisciplinary teams to successfully complete design projects. Understanding of the responsibility of the architect to elicit, understand and reconcile the needs of the client, owner, user groups, and the public and community domains. 4. Understanding of importance of successful business plan and marketing ( web presence at least), for getting the support by the public and decision makers, and realizing any urban/design /civic initiative.

Final Grade Calculation Participation /Attendance 10% (3 absences result in failure) Personal progress and, hard work and completion of task throughout the semester 50% Final grade 30% Development of collaborative skills 10% TOTAL: 100% Required Reading “ South street Seaport: Re-Envisioning the urban edge” , Emerging New York Architects 2008 competition “The Harlem edge: Cultivating Connections”,2012 Biennale Design Ideas Competition, Emerging new York Architects. “ South point from ruins to rejuvenation: The Roosevelt Island Universal Art center” Emerging New York Architects 2006 competition, AIA Chapter. “The Death and Life of Great American City: James Jacobs “Delirious New York: A Retroactive Manifesto for Manhattan”, Rem Koolhaas

Resources Libraries and online resources. Instructors personal knowledge. Materials and Supplies Green Supply Center (collection of recycled material available for re--use, needs inquiring) and personal. Contact: GSC@newschool.edu All assistance will be provided in/situ or strategic to scout for any new, available and recycled material to be used. Improvisations, enthusiasm and self--organization will be highly encouraged and rewarded. Important: storage will not be provided.

Grading Standards F Failing grades are given for required work that is not submitted, for incomplete final projects or for examinations that are not taken (without prior notification and approval). Make up work or completion of missed examinations may be permitted only with the approval of the instructor and the program director. Missing three classes will result in failure. D The work according to Final Grade Calculation adheres to all of the general guidelines of delivery, and the minimum terms of the assignment. C/C+ Thesis average research seminar work. They will demonstrate some success in engaging with the assigned readings or material. The deliveries will show that the student can identify and work with key terms and passages in a text and apply them to ideas and examples found in other texts, or other outside material. Additionally, the work will demonstrate effort in the areas of analysis and critical thinking by posing an interesting problem or question. Typical of a “C/C+” delivery, however, is that the original problem or question, once asked, does not move the research forward. There is no real solution given, or there is a variety of possible solutions put forward without a clear sense of where the author’s commitment lies. “C/C+” deliveries may also have significant organizational, skill and/or other errors in evidence. These errors may periodically impede the reader’s ability to understand the author’s point, or may lead to a delivery that seems repetitive or circular. B/B+ These are very good works. The “B/B+” paper does everything “C/C+” paper does, but offers a sustained and meaningful structure to a critical endeavor that is more complex than a paper at the “C/C+” level. What also distinguishes a “B/B+” paper is the author’s ability to offer a unique insight, to ask questions of primary or secondary source material, and/or to set up a debate between texts or points of view. The author’s point of view is clear and an argument is sustained fairly consistently throughout the paper. “B/B+” papers are logically organized, and also respond to the assignment in though and distinctive ways. Although minor grammatical and editorial errors may be present, they are under control and do not impede meaning or clarity in the paper.

A This are exceptionally good work that go above and beyond the expectations and requirements set forth in the assignment. They demonstrate substantial eﬀort and achievement in the areas of critical thinking and scholarship. They also demonstrate considerable interpretive connections between concrete ideas or textual moments, a high level of analysis, and flexibility of argument. The argument or point of view that is oﬀered is consistent throughout the paper, and governs the use and interpretation of all examples, and primary and/or secondary source material. “A” papers are very well organized, and are free of grammatical and editorial errors.

I A grade of I (Incomplete), signifying a temporary deferment of a regular grade, may be assigned when coursework has been delayed at the end of the semester for unavoidable and legitimate reasons. Incomplete grades are given only with the written approval of the instructor and the program director. The Request for an Incomplete Grade form must be filled out by the student and instructor prior to the end of the semester. For undergraduate students, if a grade of incomplete is approved, outstanding work must be submitted by the seventh week of the following Fall semester (for Spring and Summer courses) or by the seventh week of the following Spring semester (for Fall courses). Otherwise, a grade of I will automatically convert to a permanent unoďŹ&#x192;cial withdrawal (WF) for a period of four weeks. For graduate students, the maximum deadline for completion of an incomplete is one year though a shorter period may be imposed at the discretion of the instructor.

Divisional, Program and Class Policies

Responsibility Students are responsible for all assignments, even if they are absent. Late work, failure to complete the assignments for class discussion, and lack of preparedness for in-Ââ&#x20AC;?class discussions and presentations will jeopardize your successful completion of this course. Participation Class participation is an essential part of class and includes: keeping up with reading, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time. Attendance Faculty members may fail any student who is absent for a significant portion of class. Significant portion of class is defined as three absences for classes that meet once per week and four absences for classes that meet two or more per week. During intensive summer sessions a significant portion of class is defined as two absences. Lateness or early departure from class may also translate into one full absence. Blackboard Use of Blackboard may an important resource for this class. Students should check it for announcements before coming to class each week. Delays In rare instances, I may be delayed arriving to class. If I have not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes for my arrival. In the event that I will miss class entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.

Academic Integrity This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the course of academic work will not be tolerated. Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students).These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).” It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately diﬀerentiating their own work from that of others. Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university. For undergraduate students, if a grade of incomplete is approved, outstanding work must be submitted by the seventh week of the following Fall semester (for Spring and Summer courses) or by the seventh week of the following Spring semester (for Fall courses). Otherwise, a grade of I will automatically convert to a permanent unoﬃcial withdrawal (WF) after period of four weeks.

Guidelines for Written Assignments Plagiarism is the use of another person's words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turban, 6th edition). The University Writing Center also provides useful on line resources to help students understand and avoid plagiarism. See http:// www.newschool.edu/admin/wri=ngcenter/. Students must receive prior permission from instructors to submit the same or substantially overlapping material for two diﬀerent assignments. Submission of the same work for two assignments without the prior permission of instructors is plagiarism. Guidelines for Studio Assignments Work from other visual sources may be imitated or incorporated into studio work if the fact of imitation or incorporation and the identity of the original source are properly acknowledged. There must be no intent to deceive; the work must make clear that it emulates or comments on the source as a source. Referencing a style or concept in otherwise original work does not constitute plagiarism. The originality of studio work that presents itself as “in the manner of” or as playing with “variations on” a particular source should be evaluated by the individual faculty member in the context of a critique. Incorporating ready made materials into studio work as in a collage, synthesized photograph or paste up is not plagiarism in the educational context. In the commercial world, however, such appropriation is prohibited by copyright laws and may result in legal consequences.

Student Disability Services In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately. All conversations will be kept confidential. Students requesting any accommodations will also need to meet with Jason Luchs in the oﬃce of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me. At that point I will review the letter with you and discuss these accommodations in relation to this course. Mr. Luchs’ oﬃce is located in 79 Fifth Avenue, 5th floor. His direct line is (212) 229--‐5626 x3135. You may also access more information through the University’s web site at http://www.newschool.edu/studentservices/disability/. NOTE: This syllabus may be subject to change as either the result of the discussion between the students and the instructor, or due to unpredictable circumstances, findings or discoveries that will require the adjustment. In either case , both will be discussed with the students.

Course Outline: Design studio introduces the basic concepts of architectural working methods for development and representation of a cohesive architectural design strategy. Issues of architectural representation, design technique, materiality, light, scale, enclosure will be examined first in lectures and assigned readings, then explored in 2 and 3 dimensions, using both analogue and digital techniques. The assignments are progressing in scope and complexity and culminate in a public building. The students are introduced to program, site, and how architecture works as a part of a larger and more complex system. The design of the final project is a full integration of all related design components: materiality, space, structure, program, and site, which also include environmental and socioeconomic components. The course will be broken in 3 project phases: Project 1: 4 weeks Problems introduced: Introduction to subjective and objective representation in drawings, art and space and understanding the evolution of the materialistic objective? Understanding how to use material, light, color, time and shape, to produces different physical and experiential qualities of the space. Understanding different material and immaterial property and its relationship/interrelationships/details .

Students are asked to draw plan, section and elevation of an object to refresh and proficient their fundamental skills, learned in previous semesters. They should be able to understand and represent correctly and cross-reference basic drawings: plan, section and elevation. Next class they are asked to reframe the conventional understanding of drawing by exploring new techniques and methodologies, including: collage, axonometric, superimposition, juxtaposition, and diagrams in various combinations. Each drawing should not only show specific view from the object, but also should construct a narrative depicting some subjective content introduced to the drawing techniques ideas developed by some of the most prominent architects nowadays such as: Bernard Tschumi, Daniel Liebeskind, Thom Mayne and Rem Koolhaas. The students have to choose either to master one of the methodology discussed, or to introduce their own. They should present not only spatial but also temporal relationship, event, narrative, movement and etc. Lecture about â&#x20AC;&#x153;Perfect acts of architecture â&#x20AC;&#x153;exhibition at MOMA about the evolution of the perspectival drawings from Philippo Brunelleschi to nowadays.

Students are introduced to basic material: glass, wood, plastic, metal, fabric, paper, concrete, paint, mineral, rubber, light, digital. Each student has to present one material and also show different examples of how this material connects with other materials and with the same one. Different material connections are introduced. After the formal introduction to the material palette, the students use found materials to assemble them in 3D composition, explore new connections and following the same subjective and/or narrative methodologies they developed in their drawings. The students should demonstrate that they can capture the mood energy and emotions in their drawings, and physical collages using different materials.

Courtesy “ Perfect act of architecture” Next step students design two spaces. Attention is paid to the relationship between the room size and proportions and the rapport room-to-room. Materials, light (artificial and natural) and temperature are introduced later to the spaces, as tools of exploration and appropriate means of representation to study how they change the experiential qualities of the rooms. For example: how natural daylight affects and changes the inner experience of space as it travels over the course of the day. Studies are completed to simulate a variety of natural settings including: seasonal changes, weather conditions, day and night. Both physical and digital models are utilized to present architectural results.

Reading: Kipnis Jefferey 2001, “Perfect Acts of Architecture” MOMA Kandinsky , Wassily ” Point and Line to plane” Wolf Thoms” From Bauhaus to our house

Project 2: 4 weeks Problems introduced: Understanding the sectional relationship of the space, students identify rules and proportions to establish a correlation between the space elevations, scale, proportions and human experience. Envelope is introduced to the space as an important design component and connection to the surrounding environment . Students "add" two additional rooms vertically. These spaces are not simply stacked, but rather interact and counterbalance the two original rooms to explore the idea of sectional and vertical spaces. Using studies on stairs, students identify rules and proportions to establish a correlation between the space elevations. Attention is paid to how light shapes all spaces and methods and results are carried over from project 1. By exploring inherent tools and methods of architecture, students will be expected to demonstrate conceptual thinking and analytical rigor, giving equal importance both to speculative and pragmatic aspects of the project. Students articulate a series of studies to explore forms and materials to "enclose" the inner spaces created in the previous projects. Students will explore with 3d models , Ideas about "parametric" studies are integrated in order to control ways in which the light modulates the spaces interiorly. Thoughts about operable apertures and joints are explored.

Final project: 6 weeks Problems introduced: Program and site, understanding the building as a part of bigger system , Which is the site and the physical and non-physical environment.

As a transition to the final project the students will begin investigate diagrammatic organization systems as they act as conceptual devices that frame certain relationships between internal organizations of the space (program) and surrounding context. The space is related to the larger system of organization, which this time includes the site and external environment, (material and immaterial) and which, in return, can be used to transform the relevancy of preconceived conceptual abstract thinking , which dominates in the today's built environment While looking at specific site data, students will engage into a more dynamic and analogical writing to describe the site. The idea of diagrams and "narrative" is adopted as a vital tool to re-imagine the urban context. While understanding that architecture acts as part of a larger culture of thinking and making, the studio will explore the design of a community and cultural center, which includes small gallery and performance space. The design of the final project is a full integration of all related design components (site, materiality, structure, technology, program, etc.). After careful study of the site dynamic, the proposed building has to host the activities , which are already going on on the site as well as proposed one. The new building should include: Library Cafe Projection room Meeting room Children room Outdoor reading Offices Lobby entrance Garden Audio library Video library Gallery for painting/sculpture and workshop spaces Small performance space for music /dance Small theatre room for screening Community space

The students can choose from the 2 sites below , or can proposed their own site, which has to be approved by instructors. Site 1: Vacant lot of the BMW Guggenheim lab: : First Park , Houston and 2nd Ave

Site 2: It is located next to the UN studio pavilion at the entrance of the Staten Island Ferry:

SYLLABUS

ARCH 340 VISUALIZATION 3 INTRODUCTION The three course visualization sequence seeks to position itself within an academic and professional environment of constantly changing design tools, representational methods, and technologies. Through the careful introduction of appropriate tools and methodologies, these courses are meant to equip students with a digital and analog framework that supports fluidity in process and reinforcement of the benefits and value of each through an exchange and overlap. Visualization III is designed to accompany and support concurrent Third Year curriculum. It offers advanced instruction of digital design, multimedia rendering, animation, and presentation techniques. These skills, much like those introduced in the earlier visualization courses, offer not only new tools for visual communication and representation, but also new methodologies for design and abstraction. A discussion of the way in which emerging technologies are affecting contemporary practice and process will act as a theoretical underpinning to all exercises. COURSE OBJECTIVES Lab 1: Review principles of parametric modeling (Revit) Lab 2: Review of soft-lead rendering techniques (lead on trace) & Introduction to surface modeling (Rhino) Lab 3: Introduction to principles of rendering and animation (3DStudio MAX) Lab 4: Introduction to techniques of digital presentation (Photoshop, Power Point) Lab Lectures will be followed by a series of weekly assignments and review to attain high competence in both skill and concept. PRE-REQUESITES Students are required to successfully complete Vis I (AAID-140), Vis 2 (AAID-240) and ARCH-327 before registering for this course. Portfolio work from Vis 2 must be submitted to the instructor prior to the beginning of class. ATTENDANCE + LATENESS Attendance will be taken at each class meeting and lab lecture. As per NYIT policy, more than three unexcused absences will result in withdrawal from the class. If you fail to withdraw, your instructor is required by the School of Architecture and Design, to issue an F for your performance. Students arriving more than 15 minutes late will be marked absent. EVALUATION Weekly assignments will be given and progress will be evaluated by your instructor based on how well you demonstrate the skills and concepts involved. A formal mid-semester review and final review will also be held as culminations of Labs 1 + 2 and 3 + 4, respectively. At the end of Visualization 3 course, you will be required to document and record your work in the form of a semester portfolio. The portfolio should be assembled as per requirements from your instructor and will be due following the conclusion of the semester. MATERIALS LIST Charcoal or soft lead pencil (6B), 12â&#x20AC;? roll of trace Computer [please refer to laptop policy for recommended hardware] Essential Software [AutoCAD, Revit, Rhino, 3D StudioMax, Photoshop]

ARCH-340

VISUALIZATION 3 NYIT SCHOOL OF

ARCHITECTURE

AND DESIGN

3 LAB 1

SUPERTALL 1: STRUCTURE & CORE

3 LAB 2

1. Introduction You have been commissioned to design a ‘Supertall’ mixed-use tower (1000’+) on a hypothetical open site in an unnamed metropolis in the Middle East. In the first assignment, you and a partner will be challenged to construct 3D models of the structure and core of a precedent. These models will be used throughout the semester to assist in the design of the tower.

3. Instructions a.) With a partner, select a precedent from the list below, or one of your own choosing that meets the approval of the Instructor. Gather all of the documentation necessary to visualize and model the structural system and core.

3. Instructions a) Generate a minimum of two (2) perspectival, wire-frame views of your structure/core models. Print them on 11x17 paper.

1. 2. 3. 4 5 6 7 8

b) Overlay trace on wire-frame prints. With charcoal or soft lead, create at least (3) unique designs for the skin. Provide a minimum of two (2) renderings for each design (for a total of six (6)).

Chicago, USA Hong Kong, PRC Malmo, Sweden Shanghai, PRC Dubai, UAE Busan, South Korea Taipei, Taiwan Shanghai, PRC

S.O.M KPF Santiago Calatrava John Portman & Assoc. SOM Parker Design C.Y. Lee & Partners KPF

1998 2003 2005 2010 2009 2012 2004 2008

c) Select one (1) design. Scan the two (2) renderings of that design, save as JPG’s. d) Build a 3D model of the design in Rhino. Use the images and precedent models as references.

S.O.M

4. Deliverables a) Photocopied renderings (charcoal or soft lead on trace), minimum of six (6) on 11 x 17 paper b) CD with Rhino file containing model of building skin 5. Schedule Assigned: Due:

c.) Generate a diagrammatic, 3D vector model of the core. Included only the primary circulation components. Model systematically and repetitively. d.) Create a visual analysis of the building for presentation to the class. Format the presentation as a PDF document. Organize the presentation in two parts, per the assignment. NOTE: Do not include facade elements (i.e. curtain walls, glazing, louvers, etc.) in your models.

ARCH-340

4. Deliverables 1.) Graphic presentation in PDF format (minimum 6, maximum 10 pages) 2.) CD-ROM with .DWG or .RVT file of models AND PDF file of final presentation

VISUALIZATION 3 NYIT SCHOOL OF

ARCHITECTURE

AND DESIGN

Using the structure and core of your precedent model as an underlay, you will begin by generating a series of ‘gesture’ drawings with charcoal or soft lead. These drawings will be scanned and manipulated in Photoshop. The resulting images will serve as guides for the construction of the facade in Rhino. 2. Required Tools Revit, Rhino, Photoshop, charcoal or soft lead, trace paper (for 11x17 format), flat-bed scanner

7 South Dearborn Kowloon Station Tower Turning Torso Xujiahui Tower Burj Dubai Lotte World II Taipei 101 Shanghai World Financial Ctr.

VISUALIZATION 3 NYIT SCHOOL OF

ARCHITECTURE

AND DESIGN

5. Schedule Assigned: Due: 6. References TALL BUILDINGS: http://www.moma.org/interactives/exhibitions/2004/tallbuildings/index_f.html NAAB Student Performance Criteria: A.3

Hugh Ferris

1. Introduction The next task is to design the skin of the new tower. Your exacting and eccentric client insists on only one constraint: NO LESS THAN HALF of the total surface area of the facade surface must be CURVED.

2. Required Tools AutoCAD, Revit

b.) Generate a diagrammatic, 3D vector model of the structural system. Include all essential components (i.e columns, walls, slabs, beams, girders, trusses) Model systematically and repetitively: group similar elements, use layers to distinguish between families of elements.

ARCH-340

SUPERTALL 2: SOFT SKIN

Gensler

MAD Architects

3 LAB 3

SUPERTALL 3: LIGHTS, CAMERAS, ACTION

O.M.A

3 LAB 4

1. Introduction The next challenge is to create an animation that demonstrates the structural logic and construction assembly of the tower. To do so, it is imperative to first learn basic principles of rendering, with particular emphasis on lighting and materials. This exercise challenges students to explore the vast potential of 3DStudio MAX as a conceptual design and visulatization tool in three and four dimensions. 2. Required Tools Rhino, 3DStudio MAX

S.O.M

5. Schedule Assigned: Due: 6. References Power Point Tutorial: http://www.cof.orst.edu/net/software/present/powerpnt/ppguide.sht

6. References SAMPLE ANIMATION: http://www.youtube.com/watch?v=GvujGPwsX2E

ARCH-340

ARCHITECTURE

AND DESIGN

2. Required Tools Photoshop, Illustrator, Power Point

4. Deliverables CD with Power Point file of final portfolio

5. Schedule Assigned: Due:

VISUALIZATION 3 NYIT SCHOOL OF

1. Introduction The final task is to format and present your semesterâ&#x20AC;&#x2122;s work in a concise visual presentation. The portfolio should be composed of only the best images, and should document the full process of design.

3. Instructions a) Collect images from each stage of the design process b) Use Photoshop to manipulate the images for final presentation. c) Create a template file in Power Point d) Using the images and the template, create a sequence of no less than eight (8) slides. For full credit your animation (from the previous lab) must be included within this 8-slide sequence.

3. Instructions a) Export your completed tower model (with structure, core and skin) from Rhino into 3DStudio MAX. b) Create three (3) still-frame renderings of your tower (in daylight) with three distinct cameras. (For full credit, these images must have compelling shadows and materials with properly-scaled textures. For extra credit, do the same for a night scene.) Save these still images in JPG format. c) Create an animation that approximates the sequence of structural assembly for the tower. d) Render the animation and save in AVI format. 4. Deliverables CD with 3DS file (containing completed model, three rendered JPGâ&#x20AC;&#x2122;s & animation set-up) and AVI file (of final rendered animation)

SUPERTALL 4: PRESENT IT

VISUALIZATION 3 NYIT SCHOOL OF

AND DESIGN

Course information

Catalog Course Description

Course Outline

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Assessable Tasks Assignment 1: Due: Tuesday, Sept. 03 (Step 1) and Tuesday, Sept. 17 (Steps 2 and 3) Survey, AutoCAD Drawings , Presentation Board -Survey Choose a normative stair to document (steps and stoops do not count). Consider, you will most likely have to visit the stairway multiple times. Survey the stair through photographs, measurements, drawings (hand sketch the stair in plan, section, elevation, and perspective) and whatever other means you deem necessary/helpful. Remember you will be using this information to reproduce the stair in 2D and 3D. Be accurate and thorough. a. Digitize your material and compose it in a single 11” x 17” presentation board. -AutoCAD Drawings b. Draft your stair in AutoCAD. Drawings should include plans, sections, elevations at a minimum. Be highly detailed and include the fundamental elements of the normative stairway (see “Introduction to the Stairway”). Drawings must be to scale. -Presentation Board c. Compose a single presentation board (of a size of your choosing) of your CAD drawings and relevant survey materials. Drawings must be to scale.

Assignment 2:

Due: Thursday, Oct. 10. Beginning with their AutoCAD production from assignment #1, students will import accurate 2dimensionalinformation and use it to construct their stair in 3-dimensions using Rhino. Upon its digital reproduction students will produce a new set of representations from Rhino.

Assignment 3: Laser Cut Model of Normative Stair Due: Tuesday, Oct. 22 Laser Cut File, Laser Cut Model Model must be to clean, precise and to scale.

Assignment 4: The Non-Normative Stair, Due: Tuesday, Oct. 29 Choose a non-normative stair to document; Non-normative, meaning a structure that exceeds the basic functionality of vertical connection between levels and explores other mechanics of space. You are encouraged to look for designs which manage to embed multiple uses in addition to vertical circulation, such as seating, watching-gazing, resting, social interaction, and other dynamic use of space. Consider, you will most likely have to visit the stairway multiple times. Survey the stair. Remember you will be using this information to reproduce the stair in 2D and 3D. Be accurate and thorough. Similar to Step #4 in Assignment #2, it is important to understand the invisible potential of any built object/place. As a designer, you must question the functionality of stairs as merely a linear means to move people from story to the next. You will pay a particular attention to the inner qualities of the ascending/descending journey of the stair. Try to understand your stair more from an experiential perspective and less from an observational one. Think of it as a sequential narrative. Re-imagine the experience of the stair (via walking, sitting, standing, playing) and visualize new spaces and new uses. Understand how these experiences can be linked together to form a â&#x20AC;&#x153;complete story.â&#x20AC;?

Assignment 5: The Non-Normative Stair Continued, Due: Tuesday, Nov. 26 Using the information from your survey, model your non-normative stair in Rhino Model will be checked in class and needed for final Assignment #5. Utilizing your 3D Rhino model, produce drawings for your non-normative stair. Drawings will be checked in class and needed for final Assignment #6.

Assignment 6: Final Presentation. Due: Tuesday, Dec. 10

Evaluation and Grading Criteria

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Instructor Information

School, Program, and Class Policies Attendance: