Raymond Bourraine -

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1 Instructors: Nick Brinen - brinenn@newschool.edu Irene Brisson - brissoni@newschool.edu Catheriine Chao - chaoc@newschool.edu David Sheerin - dsheerin12@gmail.com Filip Tejchman - filiptejchman@gmail.com Teaching Assistants: Raymond Bourraine - bourr329@newschool.edu Joseph Chun - chunj013@newschool.edu Andrew McGregor - mcgra390@newschool.edu Samuel Weston - wests146@newschool.edu Avery Gray - graya381@newschool.edu This course develops the skills necessary to analyze, discuss, explore and convey spatial concepts within a visual language. Understanding that drawings and models are translations of a three dimensional reality, students formulate interpretive skills to express and explore spatial insights. Within our disciplines of interior and architectural design, drawing and models are the primary means to develop and communicate design ideas. Projection drawing/drafting and modeling serve many purposes. These techniques are tools to develop initial concepts, establish design intent, communicate a vision and convey a build-able 3- dimensional geometry. Throughout the semester, students expand their conceptual and technical understanding of scale, proportion, composition, while learning the conventional architectural drawing types: orthographic (plan, elevation, section), perspectives, and axonometric. Learning Outcomes: The coursework will instill proficiencies in: - Architectural drawing types: Orthographic Projection and Conic Projection - Drawing fundamentals of point, line, plane, shape, volume, mass, weight, texture, space. - Spatial principles including scale, measure, proportion, rhythm, series, statics/dynamics, variety, emphasis. - Analytical observations through measured drawing and empirical methods - The ability to communicate 3-dimensional ideas on a 2-D surface using projective drawing standards. - An understanding of the inherent bias of different projection methods. - Professional discipline of time management, organizational skills, interpersonal skills. - Creative thinking, exhibiting a variety of approaches, concepts, processes and iterations. - An ability to analyze/process/express/communicate visually, volumetrically and spatially. - Basics to Adobe Suite (Illustrator, Photoshop, and Indesign) - Basics to AutoCAD (2-D) - Basics to 3-D digital modeling READINGS: 1. Translations from Drawing to Building - Robin Evans 2. Draw With Your Knife: The Architecture Model as Project - Timothy Matthew Collins 3. An Analogical Architecture Aldo Rossi

2 Calendar: WEEK 1 25 Jun Mon Intro to course programs Orthographic Projection & Line 26 Jun Tues Group Lecture 1: Orthographic Drawing (Catherine) / Demonstration Exercise 1: Scaling/ Drafting from Field Notes of Park Object 27 Jun Wed Exercise 1: In Class / Reading 1 assigned 28 Jun Thur Exercise 2a+b: Vessel and Artifact Transport In Class / Into to AutoCAD Tools and screen layout (Andrew) 29 Jun Fri Exercise 2 in class work Group Lecture 2: Perspective Sketch Lecture (Nick) / In Class Exercise Weekend HW: Perspective Sketch Sequence and Exercise 2 WEEK 2 02 Jul Mon Exercise 2 in class work and review of perspectives in sections Analog to Digital Group Lecture: Diagram #1 (Filip and Irene) 2D + 3D Diagrams Intro to AutoCAD commands (Andrew) / Reading 2 assigned 04 Jul Wed US Holiday 06 Jul Fri Exercise 2 Due and Review in Sections: Exercise 3: Diagramming Program and Space Sketch up Basics intro and Output/Printing setup lecture (Avery) Weekend HW: Exercise 3a (to align with studio) WEEK 3 09 Jul Mon Review Exercise 3a through Desk Crits / Reading 3 3D Modeling Lecture on 3-D Representation (David) / Adobe Suite intro (Photoshop- Ray) Carving vs Assembly Exercise 3b: Thickening and Thinning: 3D Massing Studies 11 Jul Wed Exercise 3b desk crits / Adobe Suite (Illustrator & Indesign- Sam & Joseph) In class work 13 Jul Fri Review Exercise 3 / Perspective Lecture #2 (Nick) / 3D perspectives from digital models Weekend HW: Exercise 4: Perspective spatial sequence/narrative/moments WEEK 4 16 Jul Mon 3D Modeling Continued to supplement studio project Composite Drawings Exercise 5: Hybrid & Analytique Drawings & Input/Output 18 Jul Wed In-Class work to supplement studio Lecture on Presentation Layout (David and Catherine) 20 Jul Fri Supplement Studio: 3D techniques and presentation Weekend HW: Presentation Layout WEEK 5 23 Jul Mon Production of Presentation Materials Presentation Photography as Presentation tool/ Rhino Intro and Handout (All TA s) & Documentation 25 Jul Wed Production of Presentation Materials 26 Jul Thur Final Reviews 27 Jul Fri School wide show / Photography & Documentation of work

3 General Drafting and Model-Making Equipment: T-Square 36 Minimum length Borco or Vyco Drawing surface (36 x48 minimum) Hard drive (8gb minimum) Architecture scale (units in inches) degree triangle (12 inch or more) 45 degree triangle (12 inch or more) lead holder lead pointer leads 4H, 2H, H + F/HB, 2B, 4B white eraser (Stadtler Mars white) kneaded eraser erasing shield compass drafting tape 12 or 18 roll of tracing paper (butter color) sketchbook metal straight edge (ruler) with cork backing, 18 or 24 long tacks for pinning up Suggested Material Sources A.I.Friedman, 44 west 18th Street (btwn 5 th & 6 th Avenues) % student discount with I.D. Pearl Paint 308 Canal Street (btwn Church St and Broadway , 10% student discount with I.D. New York Central Art Supply 62 3rd East 11th Street Utrecht th Avenue (btwn East 11 th & East 12 th Streets) The Art Store 1 Bond Street Lee s Art Shop 220 West 57th Street (btwn 7th and Broadway)

4 Link to Parsons Student Handbook: Evaluation and Grading for the Course Grading is based on development, technical execution, conceptual strength of work and overall effort. Attendance, group discussion and improvement throughout the semester are important factors. You will be given a midterm evaluation and a final grade. The midterm evaluation, as well as individual reviews and pin-ups, will clarify areas which need strengthening. The final grade will, in part, reflect your improvement in these areas. Work for each problem must be completed within the specified time frame allotted. Pin-ups and reviews occur on regularly scheduled intervals. Students are required to attend all pin-ups and reviews. They must present their work as scheduled by their Instructors, and they must remain for the duration of the review. All work must be completed in time to attend pin-ups and reviews for their duration, regardless of when you are scheduled to present. Any student not attending the full duration of pin-ups and reviews will be marked absent. You will be given a midterm evaluation and a final grade. The midterm evaluation, as well as individual reviews and pin-ups will clarify areas, which need strengthening. If a negative evaluation is made, then the student is required to schedule an appointment with the academic advisor to discuss the problems cited in the evaluation. The grade is based on a proportional evaluation of all assignments. Grade Descriptions (from Parsons Handbook) A Work of exceptional quality beyond given guidelines A- Work of high quality beyond given assignment guidelines B+ Work of high quality, higher than average abilities beyond assigned guidelines B Very good work that satisfies goals of the course beyond assigned guidelines B- Good work C+ Average work, understanding of course material C Adequate work; passable C- Passing work but below good academic standing D Below average work; does not fully understand the assignments F Failure, no credit Attendance It is important that you arrive on time and attend every class since much of the work is to be accomplished during class. Two absences from class will constitute a failing grade for the course. Excuses for tardiness or absence will only be granted on ground of medical or family emergency. Proof must be submitted to the instructor in such cases with a note on official letterhead from the proper authority (i.e. your doctor). Outside employment is not an excuse for incomplete work or absence from class. Students will not be penalized for absences due to religious observance. However, the student still may not miss more than three class sessions. It is the student s responsibility prior to registering to assess the number of holidays that will arise during a given semester and their impact on attendance. The student, in consultation with the major department, should make a determination as to whether or not the given semester is the appropriate time to take a particular class. Accommodation may include make-up sessions in a different section of the class and/or independent projects. The student must inform the instructor at the beginning of term of any anticipated absences due to religious observance. Studio Policies It is expected that all students will work in the studio. Any student unable to do so should speak directly to his/her instructor. Group collaboration and discussion, sharing of ideas and questions and support in project development are all important aspects of a dedicated studio space. It is expected that students will arrive at the studio with assignments and all work from the last class at hand and all supplies ready. During desk critiques it is expected that all students will use the time working in studio. Academic Integrity Academic honesty, the duty of every member of an academic community to claim authorship of his or her own work and only for that work and to recognize the contributions of others accurately and completely, is fundamental to the integrity of intellectual debate and creative and academic pursuits. All members of the University community are expected to conduct themselves in accord with the standards of academic honesty. Students are responsible for knowing and making use of proper procedures for writing papers, presenting and performing their work, taking examinations, and doing research. Any instance of academic dishonest in the form of cheating or plagiarism will be reviewed according to the procedures outlined in the Parsons Student Handbook. Each student is encouraged to review these policies.

5 Exercise 1: Scale & Draft the NYC Parks Artifact Orthographic Projections_Measured Coordinated Section Planes_Multi-view Construction Construct a single drawing (24 x36 minimum sheet size or larger) which holds together 5 surveyed section cuts (1 plan & 4 sections). Allow the multi-view arrangement (using parallel and 45 degree projections) to aid in efficiency and coordinated measurements. Accomplish the following using your tools, projection methods, and line weights: -All drawings should relate on the page and share construction lines -All sections will be at an appropriate scale. Note* all drawings on the sheet will be at the same scale. -Generates finishes in plan and elevation from photographic information and cut line information -Reveals connections between the artifact and the exterior orientation -Reveals the artifact s appearance/experience over time This requires observational study, measure, and documentation Things to Consider: -Line weight -Construction Lines -Projection methods -Artifact anomalies and use -Everything is drafted with a straight edge and measured (no free hand lines) DUE: THUR, JUNE 28th

6 Exercise 2: Transport Vessel and Artifact Part A: Using 1 Sheet of 18 x24 Corrugated Cardboard, assemble an unfolding vessel that will protect your artifact during transport to and from the park and project site. This modeled mockup will be built at the scale of your drawing from Exercise 1. Consider the notions of envelope, rigidity, security, and orientation. This model must perform to demonstrate assembly (unfolded state to folded state). Part B: Scan in the plan view and 2 elevations from your artifact drawing in Exercise 1. Insert and scale these drawings to begin drafting 5 cuts of your transport vessel. Measure from your model to construct a set of closed sectional cuts through the vessel/container. Create 3 layers and line weights for the CUT, ELEVATION, AND MATERIAL TEXTURES (hatching). (CUT being the darkest). Scale and print this drawing onto a 24x36 in sheet. PARTS A & B DUE: FRIDAY, JULY 6th

7 Exercise 3: Diagrams Program Spaces Elements of Rhythm, Movement, and Circulation Part A: Fill and Cut In Sketch-Up, Fill the usable areas of your site with volumes so that each program element is represented as a volume and on its own layer. Once your site is filled the program volumes, begin subtracting/carving at these volumes to create voids for circulation, activity, work, public vs private, and so on. Document the narrative of carved condition in 3-D axonometric view on 24x36 in print. Part B: Thin and Thicken Copy and Save As (using different file name) Part A above to create another set of diagrams that articulate the envelopes and definitions of these volumes. Consider polar relationships such as light vs shadow, opacitiy vs transparency, heavy (mass) vs light (plane or linear element), grounded vs floating, etc. Accomplish this using previous and new commands/tools. Final document will be an exploded axonometric on a 24x36 in sheet. Part A Due: Monday, July 9 th Part B Due: Friday, July 13 th

8 Exercise 4: Perspective Sequence Spatial Sequence _ View _ Narrative Using your diagrams from Exercise 3, locate 5 views and create perspectives of spatial moments that narrate a sequential experience through your project. Print each of the perspectives on 8.5x11 in sheets to rearrange if necessary. DUE: MONDAY, JULY 16 th

9 Exercise 5: Hybrid and Analytique Composition Context _ Texture _ Scale Figures Using 2 of your selected perspectives from Exercise 4, revisit them in Sketch-up or Rhino to add section cut information and further detail regarding the human scale. Export the view and open in Photoshop to collage in scale figures, textures, material quality, and context. Previous photographs, analog drawings, and sketches can be collaged into the perspective as well. DUE: MONDAY, JULY 23th