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Composing Landscapes: points, lines and grids
Semester 02, 2014
course leaders
Heike Rahmann
Edward Silveira
Alice Lewis
Ella Gauci -Seddon
Caitlin Perry
Out of class consultation hours will be held once a week for 2hr via appointment.
On Tuesdays 11am to 1.00pm. Student contact
Edward Silveira.
email edward.silveira@rmit.edu.au
Course outline
All pictorial form begins with the point that sets itself in motionThe point moves
and the line comes into being-the first dimension. If the line shifts to form a plane, we
obtain a two dimensional element. In the movement from plane to spaces, the clash of
planes give rise to body (three dimensional)A summary of the kinetic energies which
move the point into a line, the line into a plane, and the plane into a spatial dimension.
Paul Klee, The Thinking Eye: The Notebooks of Paul Klee (1961)
assignment 01
25%
WHAT
DELIVERABLES
Using trace construct a (faint) grid over the original plan, consider the scale of the
units relative to the projects composition. Construct a plan drawing of the precedent
that uncovers/discovers the underlying compositional principle/s. Add in any existing
/underlying grids, key proportions and underlying geometries - how they overlap/
intersect etc. Use only lines, points and arcs.
Describe your understanding of the planometric composition through text (max. 300
words) address the relationship between repetition, proportion and geometry and
identify the compositional principle/s.
03 site/context - due 15th August
Redraw the Eight Hour Day Monument site and context using the google image on
blackboard to uncover/discover the existing grids, repetitions and hidden geometries.
Consider how they overlap and intersect. Use only lines, points and arcs.
WHY
We are exploring the use of geometry and the grid in landscape architecture as both
a construction device for drawing and a tool for ordering the landscape. Consider
the forces and material it negates, as well as the compositional coherence it creates
(consider music where pattern and repetition work similarly).
ASSESSMENT CRITERIA
HOW
01 pattern
* establish a grid for each drawing at 5cm intervals, this should be lightly drawn in
pencil as the drawing develops, consider smaller increments of measure
* begin your patterns with pencil and work up with black drafting pens
* consider whether your pattern starts from the centre and radiates out or starts from
an edge and may change/evolve from one end of the page to the other
* photocopy your pattern and test various lineweights and hatches to shift the visual
hierarchy and use the verbs to develop the pattern further. Add detail to make your
patterns more intricate.
*note: each pattern should include some form repeatable motif generated from your selected
geometry in relationship to your original grid (ie: not just projected lines or offset grids).
02/03 precedent drawing and site/context drawing
* begin with pencil and work up with black drafting pens, consider using hatches
* as you draw, consider the structure of the geometrical elements, patterns and the
overall composition (axis, symmetry etc.)
precedent text
* describe only the planometric composition in your own words
* consider starting with overall then zooming in
* include the title, the designer and the date
*************************************
please note drawings that are not A3, not in black
and white, use texta or solid fill and do not use at
least 3 line weights will automatically fail.
*************************************
assignment 02
50%
WHAT
DELIVERABLES
Using models and drawings develop your pattern into a compositional proposition
considering the three dimensions through volume and material taking into account
how your pattern meets the existing site conditions (topography, scale, site extents
and form etc). Construct an A0 landscape format panel that communicates the design
development and final outcome.
WHY
We are engaging with the conventions of the landscape architectural drawing set
assembled in a panel format. The panel is traditionally used for competitions and
presentations and is a mode that enables clear communication of the overall project
and its component parts. Its efficacy relies on clarity, readability and appeal (similar
to the role of a title and cover for a book/album etc). Consider the role of drawing and
modelling that negotiates the tension between the idealised/abstracted pattern and the
specificity of the site conditions.
HOW
study models
* choose one of the patterns from the last assignment and use one or more of the
following verbs to develop it volumetrically:
extrude
intrude
tilt
Sketch and construct a set (min 3) of study models using 1mm box board to test how
your pattern becomes volumetric
ASSESSMENT CRITERIA
turf
granitic sand
A0 panel
Materialise, develop and refine your composition in plan and section elevation (use
CAD) - use the panel template provided. Correctly scale your drawings, add carefully
photographed study models, your final model and the design development plan
drawings.
model
* construct model from box board of a 20m wedge that includes some site context
and has a 30mm base (this should not include any other material - just box board)
note: include people in your sections, plans and models
**there will be a compulsory red line session in week 8 (16th September). For this you must have
a draft of your in progress panel printed before class.
*************************************
Please note panels that are not A0 and landscape
format and not in black and white and drawings that
do not use at least 3 line weights will automatically
fail. Please cut down any oversized panel to the
correct dimensions (1189 x 841mm) and trim off the
educational version CAD watermark. Models
that do not use box board or that contain additional
materials will also automatically fail.
*************************************
Medival garden
assignment 03
DELIVERABLES
Construct a plan, detail and one-point section perspective of your project as thick
drawings using a combination of line work and collage. These will be constucted
using CAD and Photoshop only.
1 x A3 drawing/collage
1 x plan (on A3 page)
1 x 1:10 detail (on A3 page)
1 x image of chosen precedent
1 x series of drafts of perspective (min 4)
1 x plenary session feedback (completed and
submitted in final class)
A thick drawing is an assemblage under which two main techniques are used:
1. montage (crop, arrange, layer, repeat, mirror, overlap, rescale)
2. effacement (adding/subtracting, transparency, eraser)
Choose from one of the following precedent images. Consider its composition, colour
palette, techniques etc and use these to base the construction of your own drawing on:
Superstudio
WHY
ASSESSMENT CRITERIA
HOW
* Import your line drawing into photoshop , choose a limited colour palette and a
limited range of tools/techniques based on your precedent.
* consider thickening the drawing by combining with other drawings you have
made over the semester both analogue and digital
*************************************
notes:
* do not use photoshop filters
* consider resolution of images to avoid any pixelation
* print out drafts of ongoing process and trials and sketches
A perspective or Versailles
Schedule
Date
Wk 1
Jul-21
Lecture
Composing Landscapes: points,
lines and grids
Delivered by
Tutorial
Edward Silveira
Wk 2
Jul-28
Edward Silveira
Wk 3
Aug-04
TBC
Labs: CAD 1
Wk 4
Aug-11
(fri)
Aug-15
Wk 5
Aug-18
Wk 6
Aug-25
Labs: CAD 3
Labs: CAD 2
Wk 8
Sep-15
TBC
Labs:CAD 4
(fri)
Sep-19
Wk 9
Sep-22
Wk 10
Sep-29
no lecture
Labs: Photoshop 2
Wk 11
Oct-06
no lecture
Labs: Photoshop 3 +
Indesign
Wk 12
Assignment 3 due (oct 13) 1:30pm pin up, presentations start at 2pm(in class)- pop-up exhibition +
plenary
Caitlin Perry
Labs: CAD 5 +
Photoshop 1
Bibliography
(2009) Intermediate Natures: The Landscapes of
Michel Desvigne, Birkhauser, Berlin
(1997) Desvigne and Dalnoky: the return of the
landscape, Watson-Guptill, New York
Allen, S. (2009) Practice: Architecture Technique
+ Representation, Routledge, Abingdon
Bryrne, O. Elements of Euclid, Taschen
Corner, J (1992) Representation and Landscape
in Swaffield, S (ed) Theory in Landscape
Architecture, University of Pennsylvania
Press, Philadelphia
Corner, J. (1996 ) Taking Measures Across the
American Landscape, Yale University Press,
New Haven
Cousins,Charles Patrick
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