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UNIVERSITY OF MINNESOTA School of Architecture

Arch 5001, Architectural Design Studies, Representation and Design 01 Credits

2:00-6:00, four days per week. July 09 – August 17, 2018

instructors: Andrzej Piotrowski (piotr001@umn.edu), Marc Swackhamer (swack@umn.edu)

SYLLABUS

The educational objectives of this Representation/Design Module are:

• to introduce visual representation as a way of focusing attention and structuring non-verbal thoughts;

• to approach drawing, modeling, and diagramming interrogatively – not as ways to illustrate what you

already know, but to test inquisitive options for understanding the task at hand;

• to introduce architectural conventions, basic drawing and physical modeling skills;

• to introduce Photoshop as an image editing and Illustrator as a drawing editing tools;

• to introduce Rhinoceros and AutoCAD as digital drawing/thinking tools;

• to introduce diagraming as a conceptual tool;

• to learn about the importance of questioning the process of explorations and learning from the work

in progress– that it is not enough to make and draw, but that critical reflection determines the

conceptual value of such efforts;

• to combine critical thinking with architectural ways of knowing and perceiving constructed

environments.

During the following six week, summer intensive course, students will focus on basic issues of visual

thinking and conceptual representation in architecture. This sequence of complementary exercises

introduces issues and ways of working intended to complement educational backgrounds from other, non-

architectural, disciplines. To do that we have designed the exercises to juxtapose different ways of

perceiving and understanding constructed environments. While exploring these architectural ways of

thinking, the exercises will also help to acknowledge preconceptions that may hinder one’s ability to

explore conceptual decisions.

A primary goal of the summer program is to emphasize the importance of iteration to the critical thought

processes. When taken on as acts of inquiry, repetitive making and drawing, mixed with thoughtful

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discussion and reflection, yield insights otherwise undiscoverable. In such a process, with each new artifact,

you understand the problem at hand in a more sophisticated way. Every drawing and model deepens your

understanding. Learning from one’s own physical production, right from the very beginning of a design

exploration and throughout its entirety, is one of the surest ways to move beyond initial preconceptions.

When combined with other kinds of knowledge and professional expertise, such a process guarantees

insightful conceptual outcomes. This cannot be over-emphasized. Make, make, make. Draw, draw, draw.

When in doubt, make something or draw something, then step back and reflect, critically, on what you

have produced. Critical making is the way to surest way to avoid design process paralysis.

EXPECTATIONS:

We intend for this to be an intensive, full-time experience for the entire six weeks of its duration. While we

will only be meeting with you for four hours per day, four days per week, we expect that you will work on

assignments outside of class for at least as much time as you are in class. We recommend that you work in

the studio space, where you can discuss your work with your classmates. You will learn as much from each

other as you will from us.

While the course is intensive, with high expectations, we recognize that you need downtime and sleep. Try

to keep a daily and weekly schedule so that you can manage your time effectively. If you take care with

time management, you will not have to spend any of the proverbial “all-nighters” for which architecture

school is famous, and you will have personal time outside of the course. The key is to work intelligently and

strategically, to maximize the value of your time spent.

PART 01 (July 09 – July 26):

Work in the first half of the summer intensive course will involve freehand sketching, hardline drafting,

digital image manipulation and physical modeling. While we will explicitly define some tasks, others will

require exploratory discoveries based on self-directed efforts. It is essential, however, that students work

consistently and learn from their own production. If successful, the self-reflective attitude should result in

establishing a strong connection between making and thinking. The exercises will also bring a kind of

conceptual discipline to non-verbal processes that is characteristic of the best architectural design

processes.

At the end of this first sequence of exercises, students will present their entire accumulated work.

Emphasis will be on individual improvement and manifested ability to engage with visual representation as

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an analytical and exploratory tool. Although not graded, the outcome of this course will help to identify

each student’s educational strength and weakness.

PART 02 (July 30 – August 17):

Work in the second half of the summer intensive course will involve digital drawing and modeling, physical

modeling, and digital diagramming. While the tools will change from the first three weeks, the goals will

remain the same. We will aim to help you understand the basic meaning of “critical thinking through

drawing and making.” In this case, we will do this through the analysis of an existing house. You will study

an existing house designed by a Twin Cities architect through digital drawing, diagramming, and modeling.

Central to critical thinking are a repertoire of skills with which you must become proficient. We will

introduce you to those skills, but you will continue to master them as you progress through your schooling

and career.

The goal of analyzing a building through drawing, modeling, and diagramming, especially for students new

to the discipline, is to understand architectural concepts in new, deeper, and more nuanced ways than you

ever could by merely visiting, viewing, or photographing it. There are no predictable “right” answers in the

analysis of buildings. Instead, we are looking for new, even conflicting insights, for the development of

assertions and points of views about key architectural decisions embodied by the house under study.

Similar to the first part of the course, the second sequence will end with students presenting their

accumulated work. Emphasis will again be on individual improvement and manifested ability to engage

with a digital set of visual representation tools in an analytical and explorative way. Once again, we will not

assign grades, but the outcome of the course will help to identify each student’s educational strengths and

weaknesses.

We look forward to working with you over the next six weeks and anticipate growth in your abilities. We

hope that this intense effort will energize you and help to direct your architectural education.

REQUIRED SUPPLIES + SOFTWARE

In addition to modeling and drafting supplies that you have used so far please make certain that you have the following drawing supplies:

drawing pad (50 Sheet Tape, 14” x 17”) NO SPIRAL BINDERS!

(recommended: STRATHMORE 340-114)

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five sheets of a good black drawing paper (25” x 19”), cut to the size of 12.5” x 17” (recommended: STRATHMORE 500 Series Charcoal Paper. 60-131 Black) DO NOT ROLL THEM UP

bristol pad, 14"x17", smooth, two-ply, 15 sheets (recommended: Canson Bristol Vellum, 2-Ply 15 shts pad)

lead holders (preferably metal, match size of lead pointer)

lead pointer

mechanical drawing leads: HB, 2H, also red leads

eraser, white and smooth

erasing shield

triangles: 30°/60° and 45° adjustable (12” length minimum)

metal straight edge with cork base (24” recommended)

two 9B woodless pencils (recommended: PITT Graphite Pure 2900, Faber Castel)

a white pencil (recommended: Berol, Prismacolor #938)

two Prismacolor White Art Stix

good pencil sharpener (with its own small container, (recommended: General’s Three-In-One Pencil Sharpener-06491)

drafting tape (no masking tape)

Circles Template (recommended: Combo Small Circle Template 39 from 1/16 - 1 3/8)

Compass (recommended ALVIN® Quick Action 6” Pencil Compass) with extra 2H 2mm leads (5112-2H)

tracing paper roll (recommended: Bienfang no. 106)18”x24” cutting mat

no. 11 X-Acto knife and box of replacement blades

dry erase pad

also recommended: 12” architect’s scale – triangular – plastic, 25’ retracting measuring tape (framing),

These supplies are available at the UMN Book Store (Coffman Union building)

All students should have their laptops with the latest versions of the following software programs installed:

Photoshop Illustrator AutoCAD by Autodesk Rhioceros

Also, students should have a means available for backing up digital work (cloud service or external hard drive)

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SCHEDULE OF EXERCISES:

Week 1

Introduction to line drawing: Contour drawing and different ways of perceiving figures and shapes; figure of an object versus perceptual contour; projection systems, scaled orthographic drawing, section, linear perspective, constructed perspective.

Week 2

Introduction to light phenomena in architecture: value drawings; defocusing exercise and nuanced observation; black on white and white on black; introduction to Photoshop CS6; envisioning and altering visual phenomena in Photoshop;

Week 3

Introduction to diagramming: selective aspects of composing; analysis versus exploration; 2D diagramming, diagrammatic models; conceptual exploration of an architectural case study.

Final review: July 26

Graduate student orientation program at St. John’s University – July 27-29

Week 4

Introduction to 2D digital drafting and diagramming. Students will select a house designed by a local architect. They will then digitally draw a floor plan and section of the building in AutoCad and export file to Illustrator for plotting and presentation. In Illustrator, students will also produce two-dimensional diagrams of the building, focusing on forces, flows, relationships, and temporal conditions not immediately visible in plans and sections. Discussion will focus on: Quality of drawings (line weight, line type, accuracy, drawing convention, clarity). Differences and similarities between plans/sections and diagrams. Issues, qualities, characteristics, and questions that plans, sections, and diagrams reveal about the building that student did not understand before she or he produced those drawings. Central assertion, or thesis, regarding the building.

Week 5

Introduction to digital and physical modeling. Students will next generate a digital massing model of their building using Rhinoceros. Following an introduction to physical modeling techniques (laser cutting, CNC routing, 3D printing, cutting and folding, cutting and gluing), they will then produce a series of models, through techniques that they each choose, that foreground particular issues in which they are interested. Discussion will focus on: Appropriateness of detail and quality of decisions made in the modeling process; craft.

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Issues, qualities, characteristics, and questions that digital and physical models reveal about the building. How these differ from issues revealed by plans, sections, and diagrams. How central assertion or thesis building has deepened, changed, or migrated through the process of digital and physical modeling.

Week 6

Introduction to 3D digital diagramming and diagrammatic physical modeling. Using plans, sections, and models as a starting point, students will diagram the building again, with a focus on forces, flows, relationships, and temporal conditions not immediately visible. This time, diagrams will be three-dimensional and spatial. Students will also produce a series of parallel, physical 3D diagrammatic study models that further investigate the questions raised in diagrams. Discussion will focus on: Quality and craft of work; clarity. Appropriateness of diagram and diagrammatic model to issues in which student is interested. Information a 3D diagram or diagrammatic model reveals that is not apparent in a massing model or architectural drawing. Manner through which a diagram or diagrammatic model can be approached speculatively and inquisitively, rather than demonstratively. How central assertion or thesis building has deepened, changed, or migrated through the process of 3D diagramming and diagrammatic modeling.

Final Review: August 17

NOTE: Instead of office hours, Andrzej Piotrowski and Marc Swackhamer will be available by an e-mail

appointment right before the beginning of each class.

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SHARED STATEMENTS and POLICIES

University policies: For more information on grading, see: http://policy.umn.edu/education/gradingtranscripts SCHOOL of ARCHITECTURE STATEMENTS and POLICIES LATE WORK POLICY No late work will be accepted, except in the case of bona fide emergencies. Granting work extensions raises issues of fairness all students. Perceptions of unfair treatment should be directed to the instructor and/or the program director. ATTENDANCE POLICY There is a zero tolerance school policy for unexcused absence in classes. Due to the interconnected character of the sequence of exercises it is required that students attend all the classes without being late (unless there are very special circumstances) and prepare the assigned exercises in a timely manner. Attendance is mandatory. WORKLOAD At the University of Minnesota, one credit represents 42---45 hours total for an average student to meet minimal course requirements and achieve an average grade. This includes lectures, recitations, discussion groups, field work, study, and so on. Professional norms and the nature of design activities may require more than an average three hours per week. The complete policy is available at: http://policy.umn.edu/education/studentwork MENTAL HEALTH, WELL---BEING and STRESS MANAGEMENT As a student you may experience a range of issues that can cause barriers to learning, such as strained relationships, increased anxiety, alcohol/drug problems, feeling down, difficulty concentrating and/or lack of motivation. These mental health concerns or stressful events may lead to diminished academic performance and may reduce your ability to participate in daily activities. University of Minnesota services are available to assist you. You can learn more about the broad range of confidential mental health services available on campus via the Student Mental Health Website: http://www.mentalhealth.umn.edu. SCHOLASTIC CONDUCT Scholastic misconduct is broadly defined as "any act that violates the right of another student in academic work or that involves misrepresentation of your own work. Scholastic dishonesty includes, (but is not necessarily limited to): cheating on assignments or examinations; plagiarizing, which means misrepresenting as your own work any part of work done by another; submitting the same paper, or substantially similar papers, to meet the requirements of more than one course without the approval and consent of all instructors concerned; depriving another student of necessary course materials; or interfering with another student's work." Academic dishonesty in any portion of the academic work for a course shall be grounds for awarding a grade of F for the entire course. See information and help defining and avoiding dishonesty, see University Office of Student Conduct and Academic Integrity: http://oscai.umn.edu/avoid---violations/avoiding---scholastic---dishonesty/ DISABILITY SERVICES and ACCOMMODATIONS Students with disabilities that affect their ability to participate fully in class or to meet all course requirements are encouraged to bring this to the attention of the instructor so that appropriate accommodations can be arranged. This syllabus can also be made available in alternative formats upon request. Further information is available from Disabilities Services (230 McNamara) or at University Disability Accommodations Statement: https://diversity.umn.edu/disability/

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SEXUAL HARASSMENT "Sexual harassment" means unwelcome sexual advances, requests for sexual favors, and/or other verbal or physical conduct of a sexual nature. Such conduct has the purpose or effect of unreasonably interfering with an individual's work or academic performance or creating an intimidating, hostile, or offensive working or academic environment in any University activity or program. Such behavior is not acceptable in the University setting. For additional information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/SexHarassment.pdf EQUITY AND DIVERSITY The university provides equal access to and opportunity in its programs and facilities, without regard to race, color, creed, religion, national origin, gender, age, marital status, disability, public assistance status, veteran status, sexual orientation, gender identity, or gender expression. For more information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/Equity_Diversity_EO_AA.pdf RETENTION OF WORK The College of Design has the right to retain any student project for display, accreditation, archive, documentation or any other educational or legal purpose. In addition, the college reserves the right to reproduce and publish images of any such student work in collegiate publications, printed or electronic, for the purposes of research, scholarship, teaching, publicity and outreach, giving publication credit to the creator/student. Students may be requested by the instructor or program director to submit materials (including process work) for course/program archives. For additional information on copyright ownership of student work, see: https://policy.umn.edu/research/copyright SHARED DRAWING LAB Room 11 in Rapson Hall is a shared drawing lab for architecture students. Students are encouraged to use the lab for drawing work when the classroom is not otherwise scheduled. Students must take responsibility for cleaning up after each work session and may not store work in the lab due to space constraints. Respecting the nature of shared workspace and developing good work habits towards that end is part of a professional education in architecture.

NEW COURSE Cover Sheet Use  this  form  to  propose  a  new  course.  [Revised  July  2017]  

New  Course  DESIGNATOR  and  TITLE:    

Career:   [    ]    Undergraduate                  [   ]   Graduate    

Unit:   [    ]    ARCH              [   ]   DHA        [   ]   HUMF    

[    ]    LARCH          [    ]    MST        [    ]    INTERDISCIPLINARY  

Required:  [    ]   YES,  Academic  Support  Resources  needed:  

[    ]   Computer  Lab  [    ]   Digifab  Lab  [    ]   Goldstein  [    ]   Imaging  Lab  [    ]   Libraries  [    ]   Other  Technology  [    ]   Workshop  

[    ]   NO  Academic  Support  Resources  need

Program:      M. Arch

Submission  from:      Nicole Kennedy

Submission  date:        10/19/2017

Effective  term  (must  be  a  future  term):      

Estimated  student  expense  for  taking  this  course:  

Overview  Does  this  course  change  also  change  the  program  (including  adding  it  as  an  elective)?  [   ]   YES  If  yes,  is  Program  Change  form  included  this  curricular  review  cycle  or  future  cycle?   [   ]   YES,  included  Is  this  course  required?   [   ]   YES  Does  the  course  require  new  FTE  faculty?   [   ]   YES  Does  the  course  require  TA  support?     [   ]   YES  

                 [   ]   NO  [   ]   NO,  deferred   [   ]   NO    [   ]   NO  [   ]   NO  

Summarize  new  course  and  rationale  (Executive  Summary  field  in  Workflow  Gen)  Describe  the  planning  and  development  activities  that  generated  this  course  proposal.  Include  the  following  information:  why  the  course  is  needed,  which  students  are  impacted,  projected  enrollment,  etc.  

Summarize  consultation  required  by  the  University  Curriculum  Committee  Before  submitting,  verify  that  there  are  no  comparable  courses  at  the  University  of  Minnesota.  Course  proposer  should  identify  possible  overlap  with  or  relation  to  other  courses,  and  provide  proposed  syllabus  and  ECAS  course  description  to  CDes  Associate  Dean  for  Academic  Affairs,  who  will  consult  with  the  associate  dean(s)  of  the  relevant  college(s).    

Faculty  oversight/unit  approval  process  by:  [    ]   full  faculty   [    ]    unit  undergraduate  curriculum  committee   [   ]   unit  graduate  curriculum  committee  [    ]    other  (specify  oversight  body):  

Faculty  oversight  vote:   Ayes   Nays   Abstain  

$1074.00

Summer 2018

Proposal for a new course to be offered as a prerequisite for any incoming M. Arch student who did not have an undergraduate architecture degree. During this six week, summer intensive course, students will focus on basic issues of visual thinking and conceptual representation in architecture. This sequence of complementary exercises introduces issues and ways of working intended to complement educational backgrounds from other, non-architectural, disciplines. To do that we have designed the exercises to juxtapose different ways of perceiving and understanding constructed environments. While exploring these architectural ways of thinking, the exercises will also help to acknowledge preconceptions that may hinder one?s ability to explore conceptual decisions.

ARCH 5001 - VIEW COURSE PROPOSAL

Approvals Received:

Department on 10/19/17 by Nicole Kennedy (kenne814@umn.edu)

Approvals Pending: College/Dean > Catalog Effective Status: Active Effective Term: 1185 - Summer 2018 Course: ARCH 5001 Institution: UMNTC - Twin Cities/Rochester Campus: UMNTC - Twin Cities Career: GRAD College: TALA - College of Design Department: 10827 - School of Architecture

General

Course Title Short: Architectural Design Studies

Course Title Long: Architectural Design Studies: Representation & Design

Max-Min Credits for Course: 1.0 to 1.0 credit(s)

Catalog Description:

During this six week, summer intensive course, students will focus on basic issues of visual thinking and conceptual representation in architecture. This sequence of complementary exercises introduces issues and ways of working intended to complement educational backgrounds from other, non-architectural, disciplines. To do that we have designed the exercises to juxtapose different ways of perceiving and understanding constructed environments. While exploring these architectural ways of thinking, the exercises will also help to acknowledge preconceptions that may hinder one?s ability to explore conceptual decisions.

Print in Catalog?: Yes CCE Catalog Description: false Grading Basis: A-F Topics Course: No Honors Course: No

Online Course: No Freshman Seminar: No Is any portion of this course taught outside of the United States?: No

Community Engaged Learning (CEL): New: None Old:

Instructor Contact Hours: 6.0 hours per week Course Typically Offered: Every Summer Component 1: LEC Auto Enroll Course: No Graded Component: LEC Academic Progress Units: 1.0 credit(s) (Not allowed to bypass limits.) Financial Aid Progress Units: 1.0 credit(s) (Not allowed to bypass limits.) Repetition of Course: Repetition not allowed. Course Prerequisites for Catalog: <No Text Provided> Course Equivalency: <No text provided> Cross-listings: No cross-listings Add Consent Requirement: Department Drop Consent Requirement: No required consent Enforced Prerequisites: (course-based or non-course-based): No prerequisites

Editor Comments: <No text provided> Proposal Changes: <No text provided> History Information: <No text provided> Faculty Sponsor Name: Marc Swackhamer Faculty Sponsor E-mail Address: swack@umn.edu

Liberal Education

Requirement this course fulfills: <no text provided>

Other requirement this course fulfills:

<no text provided>

Criteria for Core Courses:

Describe how the course meets the specific bullet points for the proposed core requirement. Give concrete and detailed examples for the course syllabus, detailed outline, laboratory material, student projects, or other instructional materials or method.

Core courses must meet the following requirements:

• They explicitly help students understand what liberal education is, how the content and the substance of this course enhance a liberal education, and what this means for them as students and as citizens.

• They employ teaching and learning strategies that engage students with doing the work of the field, not just reading about it.

• They include small group experiences (such as discussion sections or labs) and use writing as appropriate to the discipline to help students learn and reflect on their learning.

• They do not (except in rare and clearly justified cases) have prerequisites beyond the University's entrance requirements.

• They are offered on a regular schedule. • They are taught by regular faculty or under exceptional

circumstances by instructors on continuing appointments. Departments proposing instructors other than regular faculty must provide documentation of how such instructors will be trained and supervised to ensure consistency and continuity in courses.

Criteria for Theme Courses:

Describe how the course meets the specific bullet points for the proposed theme requirement. Give concrete and detailed examples for the course syllabus, detailed outline, laboratory material, student projects, or other instructional materials or methods.

Theme courses have the common goal of cultivating in students a number of habits of mind:

• thinking ethically about important challenges facing our society and world;

• reflecting on the shared sense of responsibility required to build and maintain community;

• connecting knowledge and practice; • fostering a stronger sense of our roles as historical agents.

Statement of Certification:

This course is certified for a Core (blank) as of This course is certified for a Theme (blank) as of

Writing Intensive

Propose this course as Writing Intensive curriculum:

No

Question 1 (see CWB Requirement 1):

How do writing assignments and writing instruction further the learning objectives of this course and how is writing integrated into the course? Also, describe where in the syllabus there are statements about the critical role writing plays in the course.

<No text provided>

Question 2 (see CWB Requirement 2):

What types of writing (e.g., research papers, problem sets, presentations, technical documents, lab reports, essays, journaling etc.) will be assigned? Explain how these assignments meet the requirement that writing be a significant part of the course work, including details about multi-authored assignments, if any. Include the required length for each writing assignment and demonstrate how the 2,500 minimum word count (or its equivalent) for finished writing will be met.

<No text provided>

Question 3 (see CWB Requirement 3):

How will students' final course grade depend on their writing performance? What percentage of the course grade will depend on the quality and level of the student's writing compared to the percentage of the grade that depends on the course content? Note that this information must also be on the syllabus.

<No text provided>

Question 4 (see CWB Requirement 4):

Indicate which assignment(s) students will be required to revise and resubmit after feedback from the instructor. Indicate who will be providing the feedback. Include an example of the assignment instructions you are likely to use for this assignment or assignments.

<No text provided>

Question 5 (see CWB Requirement 5):

What types of writing instruction will be experienced by students? How much class time will be devoted to explicit writing instruction and at what points in the semester? What types of writing support and resources will be provided to students?

<No text provided>

Question 6 (see CWB Requirement 6):

If teaching assistants will participate in writing assessment and writing instruction, explain how will they be trained (e.g. in how to review, grade and respond to student writing) and how will they be supervised. If the course is taught in multiple sections with multiple faculty (e.g. a capstone directed studies course), explain how every faculty mentor will ensure that their students will receive a writing intensive experience.

<No text provided>

Statement of Certification: This course is certified for a Theme (blank) as of

Course Syllabus

Course Syllabus:

UNIVERSITY OF MINNESOTA School of Architecture Arch 5001, Architectural Design Studies, Representation and Design 01 Credits 2:00-6:00, four days per week. July 09 ? August 17, 2018 instructors: Andrzej Piotrowski (piotr001@umn.edu), Marc Swackhamer (swack@umn.edu) SYLLABUS The educational objectives of this Representation/Design Module are: ? to introduce visual representation as a way of focusing attention and structuring non-verbal thoughts; ? to approach drawing, modeling, and diagramming interrogatively ? not as ways to illustrate what you already know, but to test inquisitive options for understanding the task at hand; ? to introduce architectural conventions, basic drawing and physical modeling skills; ? to introduce Photoshop as an image editing and Illustrator as a drawing editing tools; ? to introduce Rhinoceros and AutoCAD as digital drawing/thinking tools; ? to introduce diagraming as a conceptual tool; ? to learn about the importance of questioning the process of explorations and learning from the work in progress? that it is not enough to make and draw, but that critical reflection determines the conceptual value of such efforts; ? to combine critical thinking with architectural ways of knowing and perceiving constructed environments. During the following six week, summer intensive course, students will focus on basic issues of visual thinking and conceptual representation in architecture. This sequence of complementary exercises introduces issues and ways of working intended to complement educational backgrounds from other, non-architectural, disciplines. To do that we have designed the exercises to juxtapose different ways of perceiving and understanding constructed environments. While exploring these architectural ways of thinking, the exercises will also help to acknowledge preconceptions that may hinder one?s ability to explore conceptual decisions. A primary goal of the summer program is to emphasize the importance of iteration to the critical thought processes. When taken on as acts of inquiry, repetitive making and drawing, mixed with thoughtful discussion and reflection, yield insights otherwise undiscoverable. In such a process, with each new artifact, you understand the problem at hand in a more sophisticated way. Every drawing and model deepens your understanding. Learning from one?s own physical production, right from the very beginning of a design exploration and throughout its entirety, is one of the surest ways to move beyond initial preconceptions. When combined with other kinds of knowledge and professional expertise, such a process guarantees insightful conceptual outcomes. This cannot be over-emphasized. Make, make, make. Draw, draw, draw. When in doubt, make something or draw something, then step back and reflect, critically, on what you have produced. Critical making is the way to surest way to avoid design process paralysis. EXPECTATIONS: We intend for this to be an intensive, full-time experience for the entire six weeks of its duration. While we will only be meeting with you for four hours per day, four days per week, we expect that you will work on assignments outside of class for at least as much time as you are in class. We recommend that you work in the studio space, where you can discuss your

work with your classmates. You will learn as much from each other as you will from us. While the course is intensive, with high expectations, we recognize that you need downtime and sleep. Try to keep a daily and weekly schedule so that you can manage your time effectively. If you take care with time management, you will not have to spend any of the proverbial ?all-nighters? for which architecture school is famous, and you will have personal time outside of the course. The key is to work intelligently and strategically, to maximize the value of your time spent. PART 01 (July 09 ? July 26): Work in the first half of the summer intensive course will involve freehand sketching, hardline drafting, digital image manipulation and physical modeling. While we will explicitly define some tasks, others will require exploratory discoveries based on self-directed efforts. It is essential, however, that students work consistently and learn from their own production. If successful, the self-reflective attitude should result in establishing a strong connection between making and thinking. The exercises will also bring a kind of conceptual discipline to non-verbal processes that is characteristic of the best architectural design processes. At the end of this first sequence of exercises, students will present their entire accumulated work. Emphasis will be on individual improvement and manifested ability to engage with visual representation as an analytical and exploratory tool. Although not graded, the outcome of this course will help to identify each student?s educational strength and weakness. PART 02 (July 30 ? August 17): Work in the second half of the summer intensive course will involve digital drawing and modeling, physical modeling, and digital diagramming. While the tools will change from the first three weeks, the goals will remain the same. We will aim to help you understand the basic meaning of ?critical thinking through drawing and making.? In this case, we will do this through the analysis of an existing house. You will study an existing house designed by a Twin Cities architect through digital drawing, diagramming, and modeling. Central to critical thinking are a repertoire of skills with which you must become proficient. We will introduce you to those skills, but you will continue to master them as you progress through your schooling and career. The goal of analyzing a building through drawing, modeling, and diagramming, especially for students new to the discipline, is to understand architectural concepts in new, deeper, and more nuanced ways than you ever could by merely visiting, viewing, or photographing it. There are no predictable ?right? answers in the analysis of buildings. Instead, we are looking for new, even conflicting insights, for the development of assertions and points of views about key architectural decisions embodied by the house under study. Similar to the first part of the course, the second sequence will end with students presenting their accumulated work. Emphasis will again be on individual improvement and manifested ability to engage with a digital set of visual representation tools in an analytical and explorative way. Once again, we will not assign grades, but the outcome of the course will help to identify each student?s educational strengths and weaknesses. We look forward to working with you over the next six weeks and anticipate growth in your abilities. We hope that this intense effort will energize you and help to direct your architectural education. REQUIRED SUPPLIES + SOFTWARE In addition to modeling and drafting supplies that you have used so far please make certain that you have the following drawing supplies: drawing pad (50 Sheet Tape, 14? x 17?) NO SPIRAL BINDERS! (recommended: STRATHMORE 340-114) five sheets of a good black

drawing paper (25? x 19?), cut to the size of 12.5? x 17? (recommended: STRATHMORE 500 Series Charcoal Paper. 60-131 Black) DO NOT ROLL THEM UP bristol pad, 14"x17", smooth, two-ply, 15 sheets (recommended: Canson Bristol Vellum, 2-Ply 15 shts pad) lead holders (preferably metal, match size of lead pointer) lead pointer mechanical drawing leads: HB, 2H, also red leads eraser, white and smooth erasing shield triangles: 30°/60° and 45° adjustable (12? length minimum) metal straight edge with cork base (24? recommended) two 9B woodless pencils (recommended: PITT Graphite Pure 2900, Faber Castel) a white pencil (recommended: Berol, Prismacolor #938) two Prismacolor White Art Stix good pencil sharpener (with its own small container, (recommended: General?s Three-In-One Pencil Sharpener-06491) drafting tape (no masking tape) Circles Template (recommended: Combo Small Circle Template 39 from 1/16 - 1 3/8) Compass (recommended ALVIN® Quick Action 6? Pencil Compass) with extra 2H 2mm leads (5112-2H) tracing paper roll (recommended: Bienfang no. 106)18?x24? cutting mat no. 11 X-Acto knife and box of replacement blades dry erase pad also recommended: 12? architect?s scale ? triangular ? plastic, 25? retracting measuring tape (framing), These supplies are available at the UMN Book Store (Coffman Union building) All students should have their laptops with the latest versions of the following software programs installed: Photoshop Illustrator AutoCAD by Autodesk Rhioceros Also, students should have a means available for backing up digital work (cloud service or external hard drive) SCHEDULE OF EXERCISES: Week 1 Introduction to line drawing: Contour drawing and different ways of perceiving figures and shapes; figure of an object versus perceptual contour; projection systems, scaled orthographic drawing, section, linear perspective, constructed perspective. Week 2 Introduction to light phenomena in architecture: value drawings; defocusing exercise and nuanced observation; black on white and white on black; introduction to Photoshop CS6; envisioning and altering visual phenomena in Photoshop; Week 3 Introduction to diagramming: selective aspects of composing; analysis versus exploration; 2D diagramming, diagrammatic models; conceptual exploration of an architectural case study. Final review: July 26 Graduate student orientation program at St. John?s University ? July 27-29 Week 4 Introduction to 2D digital drafting and diagramming. Students will select a house designed by a local architect. They will then digitally draw a floor plan and section of the building in AutoCad and export file to Illustrator for plotting and presentation. In Illustrator, students will also produce two-dimensional diagrams of the building, focusing on forces, flows, relationships, and temporal conditions not immediately visible in plans and sections. Discussion will focus on: Quality of drawings (line weight, line type, accuracy, drawing convention, clarity). Differences and similarities between plans/sections and diagrams. Issues, qualities, characteristics, and questions that plans, sections, and diagrams reveal about the building that student did not understand before she or he produced those drawings. Central assertion, or thesis, regarding the building. Week 5 Introduction to digital and physical modeling. Students will next generate a digital massing model of their building using Rhinoceros. Following an introduction to physical modeling techniques (laser cutting, CNC routing, 3D printing, cutting and folding, cutting and gluing), they will then produce a series of models, through techniques that they each choose, that foreground particular issues in which they are interested. Discussion will focus on:

Appropriateness of detail and quality of decisions made in the modeling process; craft. Issues, qualities, characteristics, and questions that digital and physical models reveal about the building. How these differ from issues revealed by plans, sections, and diagrams. How central assertion or thesis building has deepened, changed, or migrated through the process of digital and physical modeling. Week 6 Introduction to 3D digital diagramming and diagrammatic physical modeling. Using plans, sections, and models as a starting point, students will diagram the building again, with a focus on forces, flows, relationships, and temporal conditions not immediately visible. This time, diagrams will be three-dimensional and spatial. Students will also produce a series of parallel, physical 3D diagrammatic study models that further investigate the questions raised in diagrams. Discussion will focus on: Quality and craft of work; clarity. Appropriateness of diagram and diagrammatic model to issues in which student is interested. Information a 3D diagram or diagrammatic model reveals that is not apparent in a massing model or architectural drawing. Manner through which a diagram or diagrammatic model can be approached speculatively and inquisitively, rather than demonstratively. How central assertion or thesis building has deepened, changed, or migrated through the process of 3D diagramming and diagrammatic modeling. Final Review: August 17 NOTE: Instead of office hours, Andrzej Piotrowski and Marc Swackhamer will be available by an e-mail appointment right before the beginning of each class. SHARED STATEMENTS and POLICIES University policies: For more information on grading, see: http://policy.umn.edu/education/gradingtranscripts SCHOOL of ARCHITECTURE STATEMENTS and POLICIES LATE WORK POLICY No late work will be accepted, except in the case of bona fide emergencies. Granting work extensions raises issues of fairness all students. Perceptions of unfair treatment should be directed to the instructor and/or the program director. ATTENDANCE POLICY There is a zero tolerance school policy for unexcused absence in classes. Due to the interconnected character of the sequence of exercises it is required that students attend all the classes without being late (unless there are very special circumstances) and prepare the assigned exercises in a timely manner. Attendance is mandatory. WORKLOAD At the University of Minnesota, one credit represents 42-?45 hours total for an average student to meet minimal course requirements and achieve an average grade. This includes lectures, recitations, discussion groups, field work, study, and so on. Professional norms and the nature of design activities may require more than an average three hours per week. The complete policy is available at: http://policy.umn.edu/education/studentwork MENTAL HEALTH, WELL-?BEING and STRESS MANAGEMENT As a student you may experience a range of issues that can cause barriers to learning, such as strained relationships, increased anxiety, alcohol/drug problems, feeling down, difficulty concentrating and/or lack of motivation. These mental health concerns or stressful events may lead to diminished academic performance and may reduce your ability to participate in daily activities. University of Minnesota services are available to assist you. You can learn more about the broad range of confidential mental health services available on campus via the Student Mental Health Website: http://www.mentalhealth.umn.edu. SCHOLASTIC CONDUCT Scholastic misconduct is broadly defined as "any act that violates the right of another student in academic work or that involves misrepresentation of your

own work. Scholastic dishonesty includes, (but is not necessarily limited to): cheating on assignments or examinations; plagiarizing, which means misrepresenting as your own work any part of work done by another; submitting the same paper, or substantially similar papers, to meet the requirements of more than one course without the approval and consent of all instructors concerned; depriving another student of necessary course materials; or interfering with another student's work." Academic dishonesty in any portion of the academic work for a course shall be grounds for awarding a grade of F for the entire course. See information and help defining and avoiding dishonesty, see University Office of Student Conduct and Academic Integrity: http://oscai.umn.edu/avoid-?violations/avoiding-?scholastic-?dishonesty/ DISABILITY SERVICES and ACCOMMODATIONS Students with disabilities that affect their ability to participate fully in class or to meet all course requirements are encouraged to bring this to the attention of the instructor so that appropriate accommodations can be arranged. This syllabus can also be made available in alternative formats upon request. Further information is available from Disabilities Services (230 McNamara) or at University Disability Accommodations Statement: https://diversity.umn.edu/disability/ SEXUAL HARASSMENT "Sexual harassment" means unwelcome sexual advances, requests for sexual favors, and/or other verbal or physical conduct of a sexual nature. Such conduct has the purpose or effect of unreasonably interfering with an individual's work or academic performance or creating an intimidating, hostile, or offensive working or academic environment in any University activity or program. Such behavior is not acceptable in the University setting. For additional information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/SexHarassment.pdf EQUITY AND DIVERSITY The university provides equal access to and opportunity in its programs and facilities, without regard to race, color, creed, religion, national origin, gender, age, marital status, disability, public assistance status, veteran status, sexual orientation, gender identity, or gender expression. For more information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/Equity_Diversity_EO_AA.pdf RETENTION OF WORK The College of Design has the right to retain any student project for display, accreditation, archive, documentation or any other educational or legal purpose. In addition, the college reserves the right to reproduce and publish images of any such student work in collegiate publications, printed or electronic, for the purposes of research, scholarship, teaching, publicity and outreach, giving publication credit to the creator/student. Students may be requested by the instructor or program director to submit materials (including process work) for course/program archives. For additional information on copyright ownership of student work, see: https://policy.umn.edu/research/copyright SHARED DRAWING LAB Room 11 in Rapson Hall is a shared drawing lab for architecture students. Students are encouraged to use the lab for drawing work when the classroom is not otherwise scheduled. Students must take responsibility for cleaning up after each work session and may not store work in the lab due to space constraints. Respecting the nature of shared workspace and developing good work habits towards that end is part of a professional education in architecture.

Strategic Objectives & Consultation

Name of Department Chair Approver:

Marc Swackhamer

Strategic Objectives - Curricular Objectives:

How does adding this course improve the overall curricular objectives of the unit?

This course fulfills the objective of preparing M. Arch students with educational backgrounds outside of architecture for their first year in the M. Arch program. The educational objectives of this Representation/Design Module are: ? to introduce visual representation as a way of focusing attention and structuring non-verbal thoughts; ? to approach drawing, modeling, and diagramming interrogatively ? not as ways to illustrate what you already know, but to test inquisitive options for understanding the task at hand; ? to introduce architectural conventions, basic drawing and physical modeling skills; ? to introduce Photoshop as an image editing and Illustrator as a drawing editing tools; ? to introduce Rhinoceros and AutoCAD as digital drawing/thinking tools; ? to introduce diagraming as a conceptual tool; ? to learn about the importance of questioning the process of explorations and learning from the work in progress? that it is not enough to make and draw, but that critical reflection determines the conceptual value of such efforts; ? to combine critical thinking with architectural ways of knowing and perceiving constructed environments.

Strategic Objectives - Core Curriculum:

Does the unit consider this course to be part of its core curriculum?

no

Strategic Objectives - Consultation with Other Units:

Before submitting a new course proposal in ECAS, circulate the proposed syllabus to department chairs in relevant units and copy affiliated associate dean(s). Consultation prevents course overlap and informs other departments of new course offerings. If you determine that consultation with units in external college(s) is unnecessary, include a description of the steps taken to reach that conclusion (e.g., catalog key word search, conversation with collegiate curriculum committee, knowledge of current curriculum in related units, etc.). Include documentation of all consultation here, to be referenced during CCC review. If email correspondence is too long to fit in the space provided, paraphrase it here and send the full transcript to the CCC staff person. Please also send a Word or PDF version of the proposed syllabus to the CCC staff person.

Consultation with other units is not necessary because the course is tailored specifically to prepare students for the M. Arch program. Based on knowledge of curriculum in related units, we know that there is not a course in another unit that would fulfill this need, and this course would not be

relevant to students in other units because of it's specific purpose of M. Arch preparation.