Design II: s - California State Polytechnic University, Pomona · Visual design communication (poster) and verbal narrative for P3.1-3.3. Final Presentation 45% (subtotal) P3.1, P3.2,

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Spring 2019 LA 5121L

Design II: s Instructor: Barry Lehrman

Associate Professor of Landscape Architecture Office: 7-101C Hours: Tuesday/Friday 10-noon

[email protected]

COURSE CATALOG DESCRIPTION This studio introduces the practice of designing landscapes in the public realm with disciplinary practices of community engagement. This course will specifically challenge students to understand the relationships of the public or a community to designed public space, along with aspects of social and environmental justice. Multiple methods of information collection, comparative study, and performance metrics will be utilized to reveal latent opportunities of a site and space to be the basis for design.

Studio Meeting Times Monday/Wednesday/Friday 3:00 to 5:50pm

Course Prerequisites or Requisites C or better in LA5111L, LA5771, and LA5581

EXPANDED COURSE DESCRIPTION This studio explores the nexus of land art, pattern generation, ecological restoration, dust mitigation, water policy, and social justice while choreographing the sublime on the corpse of the Salton Sea – the largest lake in California. The modern Salton Sea was born in 1905 when an irrigation canal burst and the mighty Colorado River flowed into the Salton Sink for two years, creating a shallow 343 square-mile inland sea at the bottom of the Imperial Valley, 235 feet below sea level. Climate change and the recent diversion of irrigation water to San Diego have caused the Sea level to dramatically drop, exposing a vast playa of toxic dust and increasing the salinity of the water to lethal levels. This studio will introduce parametric design, dust-mitigation methods, ecological restoration of playa and lacustrine habitats strategies, while simultaneously design human-scale elements (roads, trails, visitor amenities) and

Pilot Study Tillage at Red Hill Bay, April 2017, Salton Sea, Niland, CA. Photo by Barry

Skills: Creating multi-scalar patterns with human-scale features in large-scale sites using parametric design tools +water management

+ landforms + ecological restoration.

Challenge: Engaging the local community and stakeholders in a rural region.

LA5121Lsp2019 Salton Sea Studio III Lehrman

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large-scale site features, all while considering many factors, ranging from the ecological, geologic, hydrologic, to socio-economic, and the political with community/stakeholder engagement.

The studio features a multi-day field trip to the Salton Sea for fieldwork, visiting mud volcanos, Bombay Beach, Slab City, walking on millions of barnacle shells, drawing, photographing, hands-on-designing, engaging the local communities and stakeholders, and experiencing the sublime. Our field trip base camp is UC Irvine’s Anza-Borrego Desert Research Center, https://anzaborrego.ucnrs.org/ that has a group kitchen, comfortable bunk beds, hot showers, Wi-Fi, a large common area, and more.

Salton Sea Context Today, the sea is a zombie, dead, dying, or still vibrant depending on who you ask. Inflow to the sea is laden with toxic selenium, arsenic, pesticides and fertilizers from the fields of Imperial Valley. This brew creating periodic algae blooms and massive fish-kills, exacerbated by increasing salinity (it is now saltier than the ocean), where only the toughest Tilapia survive (for now). Dropping water levels from decreasing inflow are revealing massive mudflats crusted by toxic salts that are easily lofted into dust storms – contributing to health problems for the surrounding communities.

Projects Detailed instructions will be distributed via blackboard for each project.

This studio will be operating where the mud meets the sky, as we delve deeply into the problem of particulate pollution and deploy landscape mitigation tactics that embrace the ecological and the cultural.

We also explore the limits of drawing technology to choreography the making of the landforms by imagining the choreography of large earthmovers, bulldozers, excavators, and other machines to create patterns that mitigate dust and establish new habitats.

We kick off the studio by drawing ephemera phenomena: wind, sound, temperature, and smells as a means to attune you senses to the non-visual aspects of the landscape.

We then shift to exploring parametric tools that use algorithms to choreograph patterns and landforms using the Grasshopper plug-in for Rhino 3D. Grasshopper offers sophisticated visual scripting by linking blocks and inputting parameters with various sliders. 3d fabrication (CNC milling, laser cutting or 3d printing) will be used for creating the final presentation model.

Machine Choreography, 2014 by Barry

Wind & Sound Drawing, Britney Seman, 303L 2018 Machine Choreography, Sergio Carrillo, 303L 2018


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Over the next decade, the Salton Sea Authority will be constructing at least 29,800-acres (46.5 square miles!!!) of new habitat, dust mitigation, water management ponds, and reclaimed agricultural areas on newly exposed playa. Of this vast opportunity, our final projects will focus on designing a smaller swath of playa around Red Hill Bay.

5121L Project Site

Salton Sea Management Program Overview (2018-2028). March 2017. Draft Salton Sea Management Plan, page 31.


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Disciplinary + Theoretical Context Essential to your success in landscape architecture is the ability to define and specify complex parameters for the design of landscape systems (cultural, ecological, economic, and technical). This meta-cognitive ability is what distinguishes the 21st century discipline from early theories and practices (beyond McHargian analysis-for-analysis-sake, or Burle Marx and Eckbo’s Mid-20th Century painterly approach to composition). Contemporary theories such as Landscape Urbanism, Ecological Urbanism, and Biomimicry, all rely on understanding and manipulating systems in the physical world along with cultural and economic systems. Designing systems allows you to establish frameworks, rules, relationships, and connections without worrying about every spot on the site – this approach enables the key concepts of projects to remain intact – even if the parameters shift - through the long gestation (5 to 20 years) that public projects undergo.

Second in importance to the professional demand of creating places that work, is creating places that have a cultural resonance - the poetic. Without perceived cultural value, large swaths of our arid western landscape are overlooked and ignored – leading to blight, neglect, abuse, exploitation, and destruction of irreplaceable natural resources. Creating cultural meanings through rational analysis and design processes is all but impossible – the poetic relies on creativity, cognitive leaps, embracing the irrational and the intuitive, of finding latent forces that shape a place, of working across physical and temporal scales, of difference, the incomplete, and the unexpected. Poetics of a place require defining genius loci, finding the authentic, the differences and commonalities, and challenging banality and mediocrity (the later are often more profitable and easier to get approval for the lowest common denominator).

Landscape Architecture’s ability to imbue cultural meaning into places is what differentiates our profession from civil engineering, ecological restoration, and urban and regional planning. Creating performative landscapes, where the eco-technical systems work together with cultural poetics is what distinguishes us from land artists and garden designers (who primarily work in the cultural realm).

Mastering the design of eco-technical systems is key to addressing sustainability, adaptation, and resilience for our cities. However, achieving a more sustainable future requires deploying sophistication cultural tactics too. Reducing resource consumption must not be seen as a sacrifice, but as enhancing the quality of life. This is where the poetics play an essential role.

The Group, the Public, the Community Long distance engagement of the community surrounding the Salton Sea will be a challenge from our studio in Pomona. That said, the internet makes it possible to lay the groundwork to effectively connect with local groups and individuals during our field trip – it is up to each of you to define a constituency and demographic you wish to engage.

Your field work and outreach, together with the thousands of comments submitted over the past decade that have shaped the Salton Sea Management Plan, will be our primary data set for evaluating the community’s and other stakeholder’s wishes.

LA303L 2018 Final Project by Morgen Ruby, Raquel Reynolds, Christopher Konieczny


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OVERVIEW OF PROJECTS AND LEARNING ACTIVITIES 5121L projects are scheduled to overlap and require multi-tasking/working across scales.

Project 1.1 Wind & Sound Drawings [Solo] 5% Freehand drawings that document ephemeral phenomena through notation and patterns. Multiple 18x24 hand drawings. Pass/Fail.

Project 1.2 Grasshopper 101 Tutorials + Graphic Design Exercise [Solo] 5% Completing the selected Lynda.com tutorials and designing a poster. Pass/Fail.

Project 2.1 Site Research Report [Collective] 10% We will collective compile a report documenting significant physical conditions around the Salton Sea together with the social and ecological context. While collectively developed, individual students will be assessed for their contributions to the research, analysis, and graphic design communication. Booklet/Slide Presentation. Pass/Fail

Project 2.2 Field Work [Partner] 10% Photographic interpretation of the site, phenomenological drawings, small-scale site design activities (trail design, and design of an observation shelter), and community/stakeholder engagement. Journal and Poster. Graded.

Project 2.3 Parametric Patterning Strategies [Solo] 5% Parametric algorithms studies for generating landform patterns, compiled into a matrix that diagrams that informs your development of P2.4. Graded.

Project 2.4 Site Indexing [Partner] 10% Notational 3D drawing interpreting the site research and field work to reveal the hidden phenomena and temporal changes to Salton Sea and surrounding terrain. Poster. Graded.

Mid-Review Presentation 45% (subtotal) P2.1, P2.2, P2.3, and P2.4 will be presented together at the mid-review.

Project 3.1 Machine Choreography [Partner] 10% A) Sculptural studies (clay) of machine choreography, B) diagrams, C) preliminary grasshopper script for Master Plan scale alignments and processes, and D) site scale grasshopper scripts. Graded.

Project 3.2 Salton Sea Macro Design [Partner] 10% Applying your P2.4 Index and P2.3 Pattern Studies to create a strategic framework to sculpt the playa. Includes detailed hydrological budgeting with analysis of evaporation, evapotranspiration, salinity and salt precipitation rates. Graded.

Project 3.3 Salton Sea Site (Micro) Design [Partner] 15% Refine the larger alignments and framework of P4.2 by developing a kit-of-parts with typologies of site-scale elements and landforms that deploy dust control strategies in a responsive field condition of trenches, berms, dimples, and other landforms+ ecological habitat + infrastructure/features for public visitation, operations, and maintenance. Graded.

Project 3.4 Synthesis & Visual Communication Design [Partner] 10% Visual design communication (poster) and verbal narrative for P3.1-3.3.

Final Presentation 45% (subtotal) P3.1, P3.2, & P3.3 will be presented together by the partners.

Project 4.0 Portfolio + Process Documentation [Solo] 5% Develop a portfolio layout/page grid/typographic styles + design a two spread of (letter size) featuring your entire 5121L experience. Submit a PDF (max 10mb) + zipped GH files.


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All assignments require submissions of PDF files via blackboard and hardcopy prints for presentation. Additionally, students must submit a selection of their work to the ENV website for the department’s archives.

COURSE COMPONENTS + ORGANIZATION Material in this course will be presented in the form of readings, class discussions, lectures, student presentation and guest presentations. This course aims to create a collaborative learning environment in which students can engage in the issues critical to the topic of the course.

Studios<>Classes Material in this course will take the form of readings, class discussions, lectures, on-line resources, public meetings, field trips, student presentation and guest lectures. The intent of this course is to facilitate learning through multiple means of providing learning opportunities and practice in professional activities, critical thinking, design, and community engagement.

This studio aims to create a collaborative learning environment in which students can engage in the issues critical to the topic of the studio in a safe and nurturing setting.

Presentations Scheduled informal ‘desk crits’ and ‘pin-ups’ and formal presentations will provide you with feedback from your instructors, guests and peers. It is essential that you provide feedback to each other in class and outside of class meeting times as a means to practice critical thinking.

A sketchbook/critique journal is required as a dedicated place to record ideas, instructions, assigned tasks, and questions. For each round of desk crits, you must prepare a list of questions about your project. These questions will be used to help craft your work plan and guide your design process.

Attendance is required for the entire duration of the mid-review and final presentations. Late arrivals or leaving early from these reviews will be penalized – see the attendance section for details. All work needs to be submitted prior to the review per the assignment instructions.

Field Trip[s] The studio requires a week-long field trip to the Salton Sea – see Blackboard for trip specifics.

Model Shop Certification Participants will need to be model shop certified within the first two weeks of the start of each term.

The ENV Model Shop is located in Bldg. 45, room 103. A mandatory Safety Exam is required before access to the Model Shop is allowed based on the information provided in the Online Study Guide.

THE KARMAN VORTEX

GRASSHOPPER SCRIPT (MODIFIED BY LONG NGUYEN AND KENNETH PONCE)

CREDITS TO: https://generativelandscapes.wordpress.com/

LA303L 2015, Grasshopper Definition for Macro-Scale Site Design of Owens Lake, Kenneth Ponce and Long Nguyen


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EVALUATION OF STUDENT WORK Individual assignments and projects in LA5121L will be either pass/fail or evaluated for conceptual merit, execution, and personal development. Grades for collaborative work will factor in the creative and graphic qualities of the collective work, leadership and collaboration, individual contributions, and creative development.

Weighting and Grades: Grades will be weighted per the percentages listed in the project overview on page 5 of the syllabus. The following policies regarding evaluation of work are in effect for LA5121L:

• Late work will not be accepted – work must be completed for the presentations, however… • All assignments can be revised and resubmitted for re-evaluation until the end-of-the-term

submission deadline. • Grades for projects will not be posted until ALL required deliverables are submitted to

Blackboard using the specified file format, file naming convention, files are optimized to be smaller than the stated maximum file size.

• Final grade will be not be submitted without complete documentation of student work, and submission of work to the ENV website.

• Overall weighting of any assignment/project may be revised to accommodate changes to the assigned course work, schedule, or other factors.

• Grades posted to Blackboard are unofficial and may be retroactively changed by the instructor at a later date without warning or notification. Final grade submitted may vary from the tally of grades on Blackboard.

Evaluation of assignments will consider the following criteria in addition to the specified rubric:

• Refinement and iterative development of the concept(s). • Clarity, accuracy, and inventiveness of solutions and visualization. • Individual progress and growth. • Quality of graphics and verbal presentations. • Completeness and professional appearance of assignments.

The following is the grading system for the University and the system that is in effect for this course:

A Superior Work: Indicates originality and independent work and a thorough mastery of the subject matter/skill; achievement so outstanding that it is normally attained only by students doing truly exemplary work.

B Good Work: Indicates clearly better than adequate competence in the subject matter/skill; achievement of quality higher than adequate, but not of exemplary quality. [B- is not a passing grade in the MLA Program]

C [Less than] Adequate Work: Indicates that classroom work, outside assignments, and examinations have been completed at a level [below required MLA] competence in the subject matter/skill; not a passing grade in the MLA Program.

D [Not] Acceptable Work: Indicates meetings the minimum requirements of the course, but at a level far below required MLA competence in the subject matter/skill; not a passing grade.

F Unacceptable Work: Indicates achievement that fails to meet the minimum requirements of the course and is clearly below university quality; not a passing grade.

+ marks are given for grades between: x6.67 and x9.99, full grade: x3.34 to x6.66, and minus marks for: x0.0 to x3.33.


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CPPLA requires MLA students to earn a minimum grade of "B" in order to progress on to the next courses in the sequence, as every course in the Master of Landscape Architecture program has a prerequisite grade of B in the course prior in the curriculum.

Attendance Attendance is expected as full-participation provides the greatest return on your educational investment. Missing class imposes a self-inflicted penalty*, so please make sure to arrive on time and stay the entire session. While there will be a standard structure to most studio sessions, the instructor is known for launching into extemporaneous allocutions at any point during class that address common issues – you don’t want to miss these. So, please avoid leaving to get food during the middle of studio (which is unprofessional), plan on caffeinating and fueling your belly before or after.

Please inform the instructor about any planned absences ahead time. If you are sick or encounter a serious issue (family emergency, car breakdown, et cetera), please email the instructor as soon as possible about the situation. Social engagements and work do not qualify as “serious”, thus will not be excused or tolerated.

* The instructor reserves the right to penalize excessive absences or a pattern of missing significant chunks of studio for non-serious causes, including issuing a failing grade for the semester.

COURSE STUDENT LEARNING OBJECTIVES Upon completion of this course, students will be introduced to the following student learning outcomes:

Critical Thinking • Demonstrate critical thinking skills and creatively apply them to resolve ecological, social and

spatial problems, while advancing current disciplinary concerns within the context of environmental design.

Professional Responsibility • Show a sense of responsibility, integrity and ethical concern as related to ecological, social, and

cultural issues related to the professional practice of landscape architecture.

Design Foundations • Demonstrate a strong understanding of design theory, history and methods of communication

based on the principles of sustainability, regeneration, and ecosystematic design.

Cultural Processes • Identify and interpret cultural and historical patterns and processes at multiple scales as needed

for designing for a diverse society.

Multi-cultural Perspectives • Pursue challenging educational and service opportunities to the public within the diverse and

evolving multicultural regional context of southern California.

Professional Development • Demonstrate teamwork and leadership skills in a variety of professional roles and contexts,

including individual and team projects, as well as interdisciplinary collaboration and participatory settings.


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Disciplinary Knowledge • Creatively apply theories, techniques, skills and tools necessary for landscape architecture, with

explicit regards to ecological sustainability, resiliency, and the protection of public health, safety and welfare.

Digital Skills • Apply hands-on computer skills and information technologies in planning and design.

Communication • Effectively express and deliver design ideas, information and solutions visually, verbally, and in

writing to a variety of audiences.

Research • Pursue scholarly or practical research with appropriately developed research questions,

qualitative or quantitative methods, and documentation in the context of environmental design.

KNOWLEDGE + SKILLS + VALUES In addition to the CPPLA specific assessable student learning outcomes listed above, this course aims to empower students with an expanded personal knowledge base, further develop and expand skill sets and ultimately provide an opportunity to examine deeper personal values of landscape architecture. Upon successful completion of this course, students will gain the following:

KNOWLEDGE • Identify basic solutions to ecological, social, and formal spatial problems related to public lands

using design. • Essentials of researching and evaluating site conditions, basic community engagement and site

design practices. • Fundamentals of graphic designs and design communication.

SKILLS • Documenting and representing landscape and social phenomena/conditions relevant to

landscape design methodology with digital and analog methods. • Refining and translating conceptual ideas from process drawings to landforms and landscape

systems. • Communicate specific design concepts and intents effectively - visually, verbally, and in writing to

various audiences.

VALUES • Reflective critical practices as a tool for creative problem solving. • Empower students to apply principals of social justice, human rights, environmental justice, and

design for all members of the community to large-scale projects. • Broadened the scope of landscape architectural practice and the role of landscape architects in

implementing a sustainable future and community leadership. • Commitment to high standards of academic and professional performance.


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INSTRUCTIONAL MATERIALS Assigned Readings will be provided via blackboard from a variety of sources.

Required Studio Supplies: Additional materials may be required – highlighted items are needed day 1:

• Self-healing Cutting Mat (or Heavy Cardboard) to protect your desk (use blue tape to secure) • A4 or B5 Sketchbook (dot grid or blank pages)or Digital Drawing App on a Tablet • 24”x36” Drawing Pad for dry/wet media, 80# or 100# medium tooth, 20 sheets minimum • Large Artist Clipboard (needed if the pad isn’t stiff enough) • White Vinyl and Kneaded Erasers • .3mm/.5mm/.7mm Mechanical Pencils and 2mm Lead Holders with 2B, HB, H, F Leads • Art/Drawing Pencils (2B, 4B, Charcoal, Sepia…) • Oil Crayons/Pastels/Charcoal and Graphite Sticks • Pens/Markers Selection • Water Color set/India Ink + Brushes (optional) • 12” roll of Tracing Paper (18 or 24” will also be helpful) • Engineer’s and Architect’s Scales • X-Acto Knife, with extra #11 Blades + Sharps Container for used blades • Steel Straight Edge (18” or 24”) • Modeling Clay - Sculpey or Plasticine • Thin Chipboard or White Museum Board • Box of T-pins or ½ ” Aluminum Push-Pins • White glue (Elmers or Sobo recommended) • 3M’s 465 Adhesive Transfer Tape (recommended) • Blue Painters Tape or Drafting Dots • Carrying Case/Storage

For our Salton Sea field work, students will need:

• Entry-level DSLR or mirrorless cameras (video camera optional) • Tripod/Monopod (optional) • 500’ Roll of #18 Mason Twine • Anchor Stakes • Surveying Flags 25+ (they come in packs of 100, so plan on sharing) • Hydration Pack/Day Pack • Hat and Sun Screen • First Aid Kit • Binoculars (recommended) or Spotting Scope • Hiking Boots (open toed/light-weight shoes are dangerous) • Sleeping Bag/Twin Sheets • Cooler with food and ice • Compass or Handheld GPS (optional) • Walkie-Talkie app or Two-way Radios (optional)

Computer and Software: Students must have and maintain access to a computer meeting the minimum departmental standards with the following required hardware:

• External hard drive for file back-up; minimum of 2TB


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Required Software:

• Adobe Creative Suite: Acrobat Pro, Illustrator, InDesign, Photoshop • AutoCAD • ArcGIS or other geospatial application • Rhino + Grasshopper • Microsoft Office: Word, Excel, PowerPoint

Recommended Software:

• Adobe Premier or Final Cut Pro • Revit • Lumnion and rendering plug-ins like V-Ray, Flamingo, etc. • Photogrammetry Software

Optional Hardware:

• Digital tablet for digital drawing and/or notetaking– iPad pro2 with apple pencil or equivalent • Wacom tablet or equivalent for digital drawing and interface with Adobe programs • Drone + FAA UAS Part 107 Remote Pilot Certificate • 3D Printer • VR Headset

DEPARTMENT POLICIES + RESOURCES Communication Email is the official form of communication at Cal Poly Pomona, so check your CPP.edu email account daily. Please use proper salutations and structure when composing messages.

Safety Students are expected to abide by all University, College and Department safety protocols at all times. Students are direct to the University catalog and the department webpage: https://env.cpp.edu/la/la.

Office Hours Tenured and tenure-track faculty shall maintain a minimum of four office hours per week. Two of the hours must be face to face and conducted over at least two days.

Full time temporary faculty shall maintain a minimum of four office hours per week over at least two days. The department faculty may develop its own policy on the mode (online vs. face to face) for temporary faculty office hours.

For part time faculty (tenured track/tenured or temporary), the number of hours will be adjusted in proportion to the time base of the appointment.

ENV Website Project Posting and Archiving of Student Work Students are required to add/create a ‘project’ post on their personal profile on the department website. Students must also attach full-size project files as PDF file types. This project post will serve as the archival record of the course for both individual and team efforts. This is a requirement to maintain ongoing LAAB accreditation.

The ENV website is provided through an individual student profile; profile access is provided to each student individually. Upon graduation, student profiles become alumni profiles.


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Student Services Students are encouraged to take full advantage of university provided resources. These include health and wellness resources, employment resources, study and research resources and student life organizations. These resources can be accessed at http://www.cpp.edu/~studentsuccess/.

Harassment, Bullying, and the Studio Environment There is zero tolerance for any bullying or harassment of any sort (gender, sexual orientation, religion, ethnicity, race, physical abilities, or anything else). Not only is this behavior unprofessional, it violates the student code of conduct.

Studio Environment The overall studio environment is the responsibility of all the students of the class. General arrangement of desk space is left to the discretion of the class with approval by the studio instructors. Each student, however, should keep in mind the needs of his/her neighbors and all applicable fire codes, such as 44” exit widths. Studio spaces must be kept reasonably clean and it is the responsibility of students to regularly clean up their individual workspaces and any group or shared spaces used by the studio. In the event of malfunctioning items, such as burned-out lights or broken locks, report the problem to the studio instructor as soon as possible to insure prompt repairs.


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PRELIMINARY COURSE SCHEDULE Subject to change. Updates will be posted to Blackboard.

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Class Activities Deliverables

5 5 10 10 5 10 10 15 15 10 5 1001/21 Martin Luther King Day1/23 LA5121L Intro + P1.1 Drawing Wind & Sound 1/25 P1.1 Pin-up + P1.1 Indexing Demo P1.1 SIX drawings (30 minute each)1/28 P1.1 Index Crit+ P1.2 GH 101 Intro P1.1 Final Index drawings 1/30 P2.1 Site Research Intro P1.2 Exercise files2/1 P1.2 Team Crits P2.1 Draft + P1.2 Lynda.Com Certificate2/4 P2.1 Pin-up P2.1 Draft Presentation2/6 P2.1 Crits + Field Trip Logistics P2.1 Draft Scripts2/8 P2.1 Presentation + P2.2/P2.3 Intro P2.1 Final Site Research Presentation2/11 Mon2/12 Tues2/13 Weds2/14 Thurs2/15 Fri No Studio

2/18 P2.2 Pin-Up + P2.4 Intro P2.2 Draft Poster2/20 P2.3 Crits Mid-review board mock-up +2/22 P2.3 Pin-Up P2.3 Draft Poster2/25 P2.4 Site Research Poster & Index P2.4 Draft Poster2/27 P2.4 Crits Work-in Progress3/1 Rehersal Presentation Final Mid-Review Script3/4 Mid Review [guests tba] P2.2+P2.3+P2.4 Poster3/6 Intro P3.1 + P 3.23/8 Team Crits P3.1 Draft

3/11 P3.1 Pin-Up P3.1 E + P3.2 A Photomontage3/13 Team Crits P3.2 Sketches/Examples3/15 Pin-up + Intro P3.4 P3.1 Draft Poster 11x173/18 P3.1 Pin-Up P3.1 Machine Choreography Poster3/20 Crits (graphics & Layout) + Intro to P4.0 P3.2 Draft Hydrology System3/22 Team Crits P3.2 Draft Ecology Systems3/25 Pin-Up P3.2 Draft Circulation System3/27 P3.3 Intro P3.2 Draft Visitor Facilities Systems3/29 Team Crits P3.2 Draft Macro Parametric Model4/1 4/1 - 4/5 Spring Break4/8 P3.2 Pin-Up P3.2 Macro Site Parametric Model

4/10 Team Crits P3.3 Draft Hydrology Typologies4/12 Team Crits P3.3 Draft Circulation Typologies4/15 P3.4 Intro P3.3 Poster Mock-up4/17 Model Making Demo + Team Crits P3.3 Draft Ecology Typologies4/19 Team Crits P3.3 Draft Visitor Amenity Typologies4/22 P3.3 Pin-Up P3.3 Micro Site Parametric Model4/24 Team Crits P3.4 Poster Mock-up4/26 Pin-Up P3.2 + 3.3 Draft Physical Models4/29 Team Crits P3.2 + 3.3 Final Physical Models5/1 Portfolio Demo + Work Session P3.4 Semi-Final Poster5/3 Rehersal + Work Session Draft Script, 11x17 proofs of final posters5/6 Final Presentation [guests tba] P3.4 Poster + Final Script5/8 Portfolio Crits

5/10 Wrap Up Discussion Draft Portfolio5/135/15

P4.0 Final Portfolio + Revised P2 & P3 (optional)

All work must be submitted before midnight on 5/15 to Blackboard & the ENV Website

Team Field Work Itinerary

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Assignments 5121LP1

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Documents

Design II: s - California State Polytechnic University, Pomona · Visual design communication (poster) and verbal narrative for P3.1-3.3. Final Presentation 45% (subtotal) P3.1, P3.2,