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  • Q1:INSTRUCTIONS Consider what you think about the design of each space - is it thoughtful or haphazard? Is the lighting sufficient or underwhelming? Is there visual interest in the space because of lighting and ceiling detail, or is it unremarkable and unsupportive of the design of the entire space? ➤ For each image, write a few sentences on your thoughts, critically analyzing the ceilings. If there is an interesting detail in the ceiling, like a cove or a tray, or maybe a great fixture, add a quick perspective hand sketch showing that feature and a quick detail section sketch (to the best of your ability) as if you were explaining it to a client and contractor to help them see your vision for incorporating it in a project. If it is an unsuccessful ceiling, add a quick sketch or section to indicate how you would improve it. Need 8 images in total( 4 sucessful and 4 unsucessful ceiling). For the 4 sucessful ceiling which is I provided to you, now you just need to write about it describe with lighting term and quick sketch for each of them. Need to search unsucsessful images in aroung ATLANTA, GA ➤ Already successful images are attached write about them in few sentences ➤ Use procreate to sketch/nSee Answer
  • Q2:Read the following pages for residential bathroom design 9-02 and 9-26--9-30 and answer the following questions. 1. Minimum clear space for handicap bathroom? 2. Doorway minimum clear opening? 3. Water closet distnce to opposite wall? 4. Water closet distance from center to another fixture? 5. Center of lavatory to a side wall? 6. Minimum distance from lavatory to fixture? 7. Bathtub to opposite wall? 8. Minmum distance from bathtub to fixture? 9. Shower stall grab bars are how far above the floor? 10. Minimum clear space for a parallelapproch to a shower stall? 11. Water closet dimensions.? W H D/nList inforamtion that was gained from the Building Construction Illustrated worksheet. Google residential bathroom fixtures and list there different manufacturers./nInstructions There are two parts: 1 part is the question and part 2 is the discussion question question part no word limit since you get the answer from the reading pages discussion Question around 125-150 wordsSee Answer
  • Q3: DESIGN STUDIO 2: CITY AS LANDSCAPE 1.0 Introduction 1.1 Project Aims To develop an understanding of the city as a landscape and to engage in a process of 'master/action-planning'. That is to say, working across landscape scales to address both the local and planetary context of the city. ● Through a series of studio and site-based workshops you will develop a holistic understanding of the social, cultural, and political ecologies of your site. You will consider the temporal nature of your site and explore the idea of obsolescence in urban landscapes. Informed by your research and experiences of your site and utilising the concept of the 'Landscape Imaginary you will work in groups to develop a collective vision for managing/creating capacity for change in the landscape. Then, working individually you will further explore the potential of this alternative imaginary to develop your own 'Manifesto for managing/creating capacity for change and adaptation in the landscape of Shieldfield. 1.2 Context Master-planning Definitions of a masterplan and of the activity known as master-planning vary, but in general a masterplan is a plan which maps an overall development concept and provides a framework for the provision of future land use, circulation, infrastructure, built form, landscape and urban design, based upon an understanding of place developed through appropriate survey and analysis. Master-planning is a different level of design in that it usually operates at a broader scale. Typically, master-planning scales would be 1:1250 and 1:2500, but the scale chosen will depend upon the size of the site or area to be planned, which can range from a region to a waterfront, a town extension or a university campus. Masterplans are often required when significant environmental assets need protection. Masterplans typically specify governing principles and/or strategies relating to elements such as building massing/heights and orientation, predominant land uses, desirable landscape character, design guidelines, circulation and movement patterns etc. However, they generally do not resolve matters of detailed design. A masterplan should not be thought of as in inflexible process/ document. Many projects involve the production of successive masterplans as circumstances change. Masterplans are often prepared by multi-disciplinary teams and they often embody the values which the client or stakeholders wish to see embodied in the evolving development. For example, they may aim to protect or conserve existing landscapes or buildings, they often identify existing landscape character and suggest where this may need enhancing. They take into account matters of environmental sustainability and resilience and should incorporate green infrastructure strategies. Masterplans are informed not only by the physical context of place, but also by historical, cultural, and social factors, and by planning policies. 'Masterplanning is a problematic term. As Tom Turner has pointed out, a master plan implies the existence of a Master, which in our transdisciplinary world can be misleading. Although there is generally someone leading the project, the master- planning ethos ought to be collaborative. It is also a gendered term, but master- planners can be male, female or may not identify as either. Criticism of the term master plan and the process of 'masterplanning have been further brought into focus in recent years as the profession of Landscape Architecture looks to address its own legacy of systemic racism and colonial practices. As landscape architects push the profession to become more equitable, some landscape architects and planners say it's time to replace the industry-standard term "master plan." (Lee, 2023) A landscape [arts]-led approach? Landscape is a medium which cuts across many different concerns, ranging across issues of health, amenity, play, community, belonging, environment etc., and this suggests that effective plans should be landscape-led. However, as above, the methodologies traditionally employed by Landscape Architects have limitations. In his book 'Ecologies of Inception: Design Potential on a Warming Planet (2022), Simone Ferracina calls into the question the ability of traditional drawing conventions, the language [landscape] architects use to describe the world, to depict the diversity, complexity, and vibrancy of reality. He asks 'How does one draw the humidity condensing onto a windowpane, the smell of wild garlic, or the kneading of dough? How does one draw regimes of maintenance and care, or the slow decay of matter? How are networks of equipmental interdependence depicted? Or how might one represent the memories associated with an old photograph, or the toxicity of a discarded toy? He advocates for 'devising tools and notational systems capable of registering and representing the selected ecologies and events so as to make them worthy of study and attention, turning the drawing into a tool for caring, taking seriously, and making visible for empowering worlds (Ferracina, 2022) In her book 'Art Maps and Cities: Contemporary Artists Explore Urban Space Gloria Lanci argues that beyond measuring and quantifying the city from an abstract viewpoint, where places are coded and categorised, artists have the capacity to insinuate themselves through particularities of the urban space, relieved of the burden to commit with precise and realistic representations. That is what I am referring to as 'cartographies from the ground': maps that tell hidden stories, that register unaccounted moments, that pursue concrete, either real or imagined, viewpoints of the daily life in cities (Lanci, 2022. p2). Through the critical exploration of the 'art map and, in particular, the work of the artist Larissa Fassler, this design brief will invite you to consider how a landscape- led approach to masterplanning might be expanded and made more holistic and plural, by employing a 'landscape [arts]-led approach'. (For the purposes of this brief, we will summarise the process of this landscape[arts]- led approach in a Manifesto, see the Glossary and Brief below for a detailed definition) 1.4 Glossary or Key Words + Concepts Collective (adj) (n): Adjective: Denoting a number of persons or things considered as one group or whole. Noun: A collective body or group. Landscape Imaginary (n): The collective imagination, informed and stimulated by the experiences of the material world (Corner, 2006) Manifesto (n): A written statement declaring publicly the intentions, motives, or views of its issuer. Derived from the word 'Manifest', meaning something that is easy to perceive or recognize. And therefore, a manifesto is a statement in which someone makes Temporalities (plural n): The state of existing within or having some relationship with time. "like spatial position, temporality is an intrinsic property of the object" 2.0 The Site O Shieldfield District, Google Maps Shieldfield is a small district in the east of the city and metropolitan borough of Newcastle upon Tyne, Tyne and Wear, England. It is bordered by the City Centre, Heaton, Byker and Sandyford. The area is bordered to the north, east and west by three rivers, Sandyford Burn, The Ouseburn and Pandon Burn respectively. All of which are now culverted underground. The Central Motorway (A167m) traces the old route of Pandon Burn and separates Shieldfield from Newcastle City Centre. The name Shieldfield is considered to be a reference to a shelter in the forest clearing, derived from Anglo-Saxon sources. The area occupies a plateau of Common Land that was, as noted above, historically encircled by rivers, and sat just outside the City Walls. Its topography made it ideal as both pasture for grazing animals and for growing crops and it remained as Common Land until it was 'enclosed and developed in the 18th century. As the Northeast of EnglandSee Answer
  • Q4: REPORT CONTEXT Introduction Project feasibility Understanding the user Concept development and building program Site section and analysis Choice the site Building landmark Sustainability Structure Design Conclusion SCHEME 1 INTRODUCTION In response to the growing demand for student accommodation, the design of a student hostel presents an exciting opportunity to create a vibrant and supportive living environment for the academic community. This project aims to provide a comprehensive solution to the accommodation needs of students, ensuring comfort, safety, and conducive spaces for both study and social interaction. PROJECT FEASIBILTY The proposed student hostel seeks to address several key objectives: FUNCTIONAL DESIGN: The design prioritizes functionality to accommodate the diverse needs of students, including sleeping quarters, study areas, recreational spaces, and communal facilities. Emphasis is placed on efficient space utilization to maximize capacity while maintaining comfort and privacy. Community Engagement: Recognizing the importance of fostering a sense of community among residents, the hostel design incorporates communal spaces and shared facilities that encourage interaction and collaboration. These spaces serve as hubs for socializing, studying, and cultural exchange, contributing to a vibrant campus atmosphere. Safety and Security: The safety and security of residents are paramount considerations in the design process. Measures such as controlled access points, surveillance systems, and emergency response protocols are integrated to ensure a secure living environment, promoting peace of mind for students and their families. Sustainability: With a commitment to environmental stewardship, the design incorporates sustainable principles and practices to minimize environmental impact and promote resource efficiency. Features such as energy-efficient lighting, water-saving fixtures, and green spaces contribute to the overall sustainability of the hostel. UNDERSTANDING THE USER Understanding is crucial for creating an environment that is functional, comfortable, and enjoyable for the users. Here are some aspects of user understanding in hostel design: users appreciate the social aspect of shared accommodations, they also value privacy and quiet spaces for relaxation. Understanding the balance between communal and private areas enhance the overall users experience. Norms regarding sleeping arrangements, social interaction, and dining help create a welcoming and inclusive environment for all guests. Accessibility: Considering the needs of guests with disabilities or mobility limitations is essential for inclusive hostel design. This may involve ensuring wheelchair accessibility, providing accessible bathrooms, and accommodating other special needs. Environmental Sustainability: Many students are environmentally conscious and seek accommodations that prioritize sustainability. Understanding their preferences for eco-friendly practices such as recycling, energy efficiency, and locally sourced materials can inform sustainable design choices. CONCEPT DEVELOPMENT AND BUILDING PROOGRAM Concept is derived from a rectangle but its divided into three sections and begin to reduce the dimensions of opposite width sizes. Reason for choosing rectangular plan shape is to minimizes the negative spaces to meet up with the requirements of client. Accommodation Units: Individual rooms or dormitory-style accommodation for students, including beds, desks, chairs, and storage space for personal belongings. Common Areas: Spaces for socializing and relaxation, such as lounges, study rooms, TV rooms, and recreational areas. Kitchen and Dining Facilities: Shared kitchen facilities equipped with appliances and utensils for students to prepare meals, as well as dining areas where students can eat together. Bathrooms and Toilets: Adequate restroom facilities with showers, toilets, sinks, and possibly separate facilities for student. Outdoor Spaces: Provision of outdoor spaces such as gardens, courtyards, or recreational areas where students can relax and socialize outdoors. Utilities: Adequate provision for electricity, heating, air conditioning, water supply, and waste management. Internet Connectivity: High-speed internet access throughout the hostel to facilitate academic work and communication for students. Laundry Facilities: Washing machines and dryers for students to do their laundry, along with appropriate space for hanging clothes to dry. SITE SELECTION AND ANALYSIS The University of Bradford is a public research university located in the city of Bradford, West Yorkshire, England. Temperature: The UK experiences mild temperatures compared to other locations at similar latitudes due to the influence of the Gulf Stream. Average temperatures vary across the country, with the south generally experiencing slightly warmer temperatures than the north. winter. Winters are generally mild, with occasional cold spells and snowfall, while summers are relatively cool compared to continental climates. Wind Patterns: The UK's weather is influenced by prevailing westerly winds, which bring moisture laden air from the Atlantic Ocean. These winds can result in changeable weather conditions, including rain showers and cloudy skies. CHOICE OF SITE; I choose site for the student hostel between P1 and P2 near student central and J. B. Priestly Building. The building is facing towards North to reduce solar radiation and to minimizes its interior to raise its temperature. The building is placed near student central and J. B. Priestly building and has a beneficial source to accommodate the students by providing residency. The longside lane serve in front of building, there is greenery towards the back of building providing the aesthetics view for the users in room. SITE DIMENSIONS; 40m x 30m 131'0" x 98'6" BUILDING LANDMARKS JD Gyms Bradford Central mosque Bradford Living Islam The Islam Bradford Centre Kunafa tea Sing kee supermarket Ariya African Restaurant Bar Leonardo Hotel Bradford Formerly Jurys Inn Bombay Stores Shimlas New York Krispy NYK SUSTAINABILITY Site Selection and Planning: The building is designed to minimizes environmental impact, such as preserving natural habitats or selecting brownfield sites for redevelopment. Optimize building orientation to maximize natural daylighting and passive solar heating/cooling. Energy Efficiency: Incorporate energy-efficient design principles such as proper insulation, high-performance windows, and efficient heating, ventilation, and air conditioning (HVAC) systems. Install renewable energy systems such as solar panels, wind turbines, or geothermal heat pumps to generate clean energy on-site. Implement energy-efficient lighting systems and use daylighting strategies to reduce the need for artificial lighting. Water Efficiency; Install water- efficient fixtures such as low-flow toilets, faucets, and showerheads to minimize water consumption. Implement rainwater harvesting systems for irrigation or toilet flushing. Utilize greywater recycling systems to treat and reuse wastewater for non-potable purposes. Indoor Environmental Quality: Optimize indoor air quality by using low VOC (volatile organic compound) paints, sealants, and adhesives. Provide adequate ventilation and thermal comfort through natural ventilation or efficient HVAC systems. Maximize access to daylight and views to the outdoors to enhance occupant wellbeing and productivity. Material Selection: Choose sustainable building materials such as clay bricks and mud with low embodied energy, recycled content, and non-toxic properties. Prioritize locally sourced materials to reduce transportation emissions. Design for deconstruction and recycling to facilitate material reuse at the end of the building's life. STRUCTURE As the dimensions of building is 40m x 30m so frame structure is feasible for this type of building. The grid lie on the building is of 24' x 24' to provide the maximum load to columns. All load of building transfer to ground by beams to columns and then to ground. The columns are of 2' x 2' each after 24'. The atrium having dimension 25' x 23' also supported by beams and columns. A frame structure is a type of structural system commonly used in construction where the structural elements are arranged in a framework or skeleton-like arrangement. This framework typically consists of beams, columns, and joints that work together to support the loads imposed on the structure and to transfer them to the foundation. Steel Frames: These structures are made primarily of steel beams and columns bolted or welded together. Steel frame structures are popular in commercial and industrial buildings due to their strength, durability, and flexibility in design. Concrete Frames: Concrete frame structures utilize reinforced concrete beams and columns to form the framework. They are commonly used in residential, commercial, and industrial construction due to concrete's versatility and ability to withstand heavy loads. Wooden Frames: Wooden frame structures, also known as timber frames, use wooden beams and columns to create the framework. This type of construction is commonly found in residential buildings and smaller commercial structures. The above picture shows the placing of the columns as well as the beams to help and hold up the structure. The structure will also have use of reinforced concrete to help incorporate sustainable design and cost-effectiveness. The tensile strength of the Steel combined with the compressive strength of the concrete promotes strength and durability within the design of the building. The fire-resistant element of reinforced concrete highlights the health and safety factors that would be pivotal in a building when accommodating one hundred students. To produce a safe and secure construction, the load from the slabs moves from the roof down the slab, via the columns, and into the beams. Steel is a very useful material for beams because of its strength and capacity to support large loads. Because the weight is distributed uniformly throughout the building thanks to the columns and the load passing through the foundations and into the ground, the structure also benefits from this. It is also inexpensive because it is easily accessible and contributes to the building's continued reduction of its carbon footprint. DESIGN 100 rooms for 100 students Each room has washroom Student kitchen 144 sq ft 36 sq ft 80 sq ft Main kitchen Dinning space Store room supported kitchen Green terrace supported living 320 sq ft ft 2000 sq 360 sq ft 50 percent 2000 sq ft Gymnasium Spa Administration pool 1500 sq ft 600 sq ft 252 sq ft 1500 sq ft/n21:56 < CSE5014-B 2023-24 Co... UNIVERSITY of BRADFORD CSE5014-B Structural Design Project 100 → Faculty of Engineering and Informatics BEng/MEng Civil and Structural Engineering Structural Design Project CSE5014-B Detailed Design 2023-24 Requirements Following your initial report, your group needs to select their preferred scheme and carry out a more detailed design. For your detailed design report, you will 1. Prepare sufficient design calculations to establish the form and size of the principal structural elements (one slab, one beam, one column), for the chosen scheme. 2. Select a suitable type of foundation for this structure and some preliminary design calculations 3. Prepare general arrangement plans, sections and elevations to show the dimensions and layout of the structural elements. These drawings can produced using Autodesk/Revit or drawn by hand. 4. Consider the method of construction and prepare a Construction plan, including a Gantt chart showing the order and duration of activities 5. Prepare a Risk Assessment for the Construction Process 6. Assess the sustainability of your design decisions, considering issues such as (but not limited to) embodied carbon, waste produced during the construction/use/end of life of the building. 7. Prepare a reflective statement about how the principles of BIM could be used in completing this type of project. The principles of sustainable development must be embedded into all of your design decisions For the detailed report, worth 50% of the module, the breakdown of marks will be as follows Report element Design calculations Foundation Design Sustainability Marks (% of component grade) 20 10 25 Risk Assessment 15 Construction Plan 10 Implementation of BIM - reflective statement Drawings 10 10 There is not a strict word-count but the main body of the final report should be approximately 5000- 10000 words, supplemented by diagrams and appendices as appropriate. The report should be paginated and prefaced by a table of contents. The report should contain the above elements of the project in the main body of the report or appendices. This report must be submitted on Canvas by 4 pm on Friday 12th April. Only one submission is required per group. Page 1 of 1 2 000 Dashboard Calendar To-do Notifications InboxSee Answer
  • Q5: 2/23/2024 Assignment 03: Schematic Design - 24W --Design & CAD Project 3 (SEC. 701) CENTENNIAL 24W --Design & CAD Project 3 (SEC. 701) COLLEGE Content Grades Assessments ✓ Communication ✓ Course Tools ▾ Help Assignment 03: Schematic Design AR Д < > ://app.readspeaker.com/cgi-bin/rsent?customerid=11151&url=https%3A%2F%2Fe.centennialcollege.ca%2Fcontent%2Fenforced %2F1077099-ARCH 201701_2024W%2FAssignment%252003%2520Schematic%2520Design.html&lang=en_us&readid=d21_read_elen ASSIGNMENT 03: SCHEMATIC DESIGN ◄ Listen 1024 328 JON 01 5267 02 40 03 10662 DOST 1.02 LOG S.01 $13 1891 600-> 04 05 06 Assignment 03 is worth 10% of your final grade. It is due Sunday of Week 05 by 11:59pm Project Context 133 fooz 0091 Work on the design and construction drawings for a low-rise commercial building or buildings is an example of the typical work of an architectural technologist employed in an architectural office. This project will introduce you to the design and construction documentation for a steel frame building with a range of possibilities for exterior wall construction. During the first part of the project, you will prepare a set of presentation drawings of the commercial building, for approval by the client. During the second part of the project, you will use these design drawings as the basis for the construction drawings. Instructions Your client is a small real estate development company that develops small, low-rise commercial projects in the Greater Toronto Area. The client has selected a site in the eastern part of Toronto, along Kingston Road. Your project will consist of two, three, or four buildings. On the ground floor, the overall development will include a number of leasable units for retail stores and personal service shops, and two restaurants. Two of the buildings will be two storeys and will have leasable office space on the second floor. The office space will be suitable for small businesses or professionals such as dentists or accountants. Due to the building's height and gross floor area, Part 3 and other parts of the Ontario Building Code will govern design and construction. Your task is to design these commercial buildings based upon the area and space requirements provided, recognizing the opportunities and constraints of the site, the proposed zoning (assuming a successful application for rezoning), the city's Official Plan, and the Toronto Green Standard and Toronto Green Roof By-Law. Sustainable Design Requirements The proposed development must achieve a minimum of Tier 1 under the Toronto Green Standard. It will be necessary to incorporate sustainable design and construction features in this building in order to reduce energy consumption and operating costs, minimize the building's impact on the environment, provide a healthy environment for occupants and visitors, and serve as a model for future development in the area. The following are some of the aspects of sustainable design which this project must address: • Resource efficiency: Passive solar design; high performance building envelope • Site design to maximize permeability Stormwater runoff rates and stormwater quality https://e.centennialcollege.ca/d2l/le/content/1077099/viewContent/13599279/View 1/3 2/23/2024 • Assignment 03: Schematic Design - 24W --Design & CAD Project 3 (SEC. 701) Green roof, as required by the Toronto Green Roof By-Law Scenario #1: Two buildings Building A (approx. 6 retail units + 1 restaurant + office space on 2nd floor) Building B (approx. 6 retail units + 1 restaurant + office space on 2nd floor) Scenario #2: Three buildings Building A (approx. 6 retail units + office space on 2nd floor) Building B (1 restaurant) Building C (approx. 6 retail units + 1 restaurant + office space on 2nd floor) Scenario #3: Four buildings Building A (approx. 6 retail units + office space on 2nd floor) Building B (1 restaurant) Building C (approx. 6 retail units + office space on 2nd floor) Building D (1 restaurant) Space Requirements: All areas indicated are approximate. 1st Floor Leasable Retail/Personal Service Space - Total of 12 units in the project, divided between 2, 3, or 4 buildings Typical retail unit sizes range from approx. 6m x 18m (based on a column grid of 6m by 6m, or 6m x 18m overall), 7m x 18m, 7m x 20m, to 7m x 24m. (Some units may be smaller than typical due to location of Exit Stair #2.) Each unit will include an entrance vestibule, one Universal washroom & a BoH Storage. Two Restaurants: Each restaurant: 300 to 400 sq.m. The restaurants may be attached to buildings containing retail/personal services shops, or they may be in separate buildings, or both. Each restaurant will include: Entrance vestibule, Dining Area; Kitchen and related functions; Washrooms (Men's, Women's, and Universal Washroom (7.3 sq.m.)); and outdoor patio (this could be also a roof-top patio or both). If a restaurant is in a separate building, it should also have a garbage/recycling room. 1st Floor Office Entrance (Related to 2nd Floor office space), including: Entrance Vestibule & Lobby 1 Elevator Stair #1 Stair #2 Garbage/Recycling Room 2nd Floor 1 Elevator Sq. m. Sq. m. Two-Storey Two-Storey Bldg. #1 Bldg. #2 20 20 20 20 10 10 10 10 8 8 8 8 15 15 10 110 10 10 16 16 2 Stairs (approx. 8 sq.m. each) https://e.centennialcollege.ca/d2l/le/content/1077099/viewContent/13599279/View 2/3 2/23/2024 Washrooms (Men's, Women's, and Universal Washroom (7.3 sq.m.)) Public Corridor Leasable Office Space 20 Assignment 03: Schematic Design - 24W --Design & CAD Project 3 (SEC. 701) 400 maximum 20 400 maximum Each proposal must provide the required number of parking spaces for the retail, restaurant, and office components of the development, as per the rezoning application, as well as the required number of loading spaces and garbage/recycling storage rooms. Evaluation Rubric For a total of 30 possible points, Assignment 03 will be graded as follows. Criteria Excellent Thorough Adequate Inadequate Site Plan 9-10 points 7-8 points 5-6 points 0-4 points (10 points) First Floor 10-12 points 7-8 points 5-6 points 0-4 points (10 points) Second Floor 10-12 points 7-8 points 5-6 points 0-4 points (10 points) Total 30 points Submission Required Drawings prepared using REVIT and/or AutoCAD and submitted to the Assessment Folder. • Schematic site plan, showing the footprints of the proposed buildings, building entrances, pedestrian walkways, all parking spaces and aisles, loading spaces, vehicular entrances, and landscaped areas. Site Plan could be in CAD at this stage but would be much better to insert the base CAD file in REVIT to develop detail lines. The Site Plan should be True North - Scale 1:500. Draw your Site Plan in REVIT on your Site View using annotation tab: Detail Lines, Filled Region, DIMs, Text, etc. ⚫ Schematic Ground Floor Plan and Second Floor Plan, showing column gridlines, walls, and gross floor area of each portion of the building. Both floor plans will be at 1:100 Scale - Project North. . A few 3D Camera Views to represent your Schematic sustainable and aesthetic considerations. • Submit: REVIT and a single combined PDF files. CENTENNIAL COLLEGE ARCH-201 Design and Computer Aided Drafting Project 3 Reflect in ePortfolio Download Print Open with docReader < > You have viewed this topic Last Visited Feb 23, 2024 2:06 PM https://e.centennialcollege.ca/d2l/le/content/1077099/viewContent/13599279/View Activity Details 3/3/n This is a 2 part assignment that requires a schematic design and 50% of the design development of the project. The expert needs to complete the schematic design first in order to begin doing the design development portion of the project. The expert does not need to complete the design development fully but rather finish 50% of the design as instructed in the instructions sheet. This is a 2 part assignment that requires a schematic design and 50% of the design development of the project. The expert needs to complete the schematic design first in order to begin doing the design development portion of the project. The expert does not need to complete the design development fully but rather finish 50% of the design as instructed in the instructions sheet. The schematic design requires a revit file, 4 sheets (site plan, first floor, 2nd floor plan, 3D) These tow files compile the design development portion of the assignment The assignments essentially build off one another, you wont be able to do the design development portion, without doing the schematic design portion also the software is Revit 2 design in total if u want to combine the assignments into one, but its not 2 sperate design, its one design and you build off of it/n PART 1. The schematic design must be completed in order to get a grade to assess the design dev elopement of the project therefore it is crucial that multiple files be added. Look at the file names 66 'Assignment 03-Schematic Design” and “Assignment 03-Schematic Design 1" for the instructions on how to complete Part I of the assignment. Schematic design requires the following listed below developed in revit: - Site plan - first floor plan - second floor plan - 3D I also require 4 sheet views of each of the listed above in revit (Ex, sheet view for the site plan, first floor plan, second floor plan, and 3D). Up to this point when you have completed these steps please save the file name as “Schematic design". I have attached a sample under the file name “Part 1 - Schematic Design- Student Sample.rte" that shows you exactly what the schematic design format and overall what this portion of the project should look like. This is a sample, thus please dont copy this the design must be original. ***IMPORTANT NOTE: This part 1 portion of the project is crucial because it lays the foundation for part 2 of the project; as per the professors instructions, part 2 will NOT be assessed or graded if Part I is not complete.*** PART 2. Using the schematic design, you must not enter the development phase of the project. Part 2 of this project requires you to prepare design development dragons for the two-story building schematic design proposal completed in Part I. Look at the file names “Assignment 04- Design Development” and “Assignment-04- Design Development - Part I 50% od DD". The design development of the building requires you to prepare on Revit: -site plan - Ground floor plan - Second floor plan - Building elevations - Building sections - 3D views, using revit. *Please ensure that you include plumbing fixtures on the floor plans, and calculates of the plumbing fixtures in your site plan statistics* When you have completed part 2 of the assignment, please save the Revit file name as “Design Development 50%”. Ive also attached two files called “news.pdf" and "Wall Assembly Hand Sketch Presentation.pdf”, these are supplementary files that will help you compete the assignment. By the end of this assignment I required 2 Revit files, one Revit file for part 1 saved under the name "Schematic Design" and another Revit file for part 2 saved under the name "Design Development 50%”.See Answer
  • Q6: 1. Site Survey Overview 45 mins (break) 2. Desktop Survey Activities 60 mins. (break) 3. Survey Sharing/overlay and Final Reflections 45 mins LUNCH 12-1PM 4. Large Scale Mappings 2 hours Finish MAPPING SHIELDFIELD 2: WORKSHOP RHYTHM MAPPING SHIELDFIELD 2: SITE SURVEY RECAP Global design studio, Vienna Stef Leach Surveying a landscape site is a crucial step in any landscape architecture project. It involves collecting and analysing information about the physical, ecological, cultural, and historical features of a site, as well as its opportunities and constraints. A thorough site survey can help you design a landscape that is responsive, functional, and sustainable. SURVEYING LANDSCAPE "It was really this thing about committing time to a site and kind of getting over our kind of assumptions and our or our ideas about what we think places are like and actually spending time there. And that became crucial in my practice, this idea of committing long durational process..." Alexanderplatz, Berlin ABER ES 2ULT DOCHT Kottbusser Tor, Berlin turnel WNE ON BIU XBIGG SCHNEIDERSLADEN www.schneidersladen.com FLAY 20 +Photoautomat TI Womm front Kaisers asking for Money O Cars, start af 2 light people run out In Front of the You AROFE ist da graver HOME steps den circulating 2 man tired at passing, ACTIONING hone 2 ment still tacked shoujoured by Ry phone. VATER GOVE COMPUTER PROFI 36 Sound of LOVE 9047 misir troof carşisi FLEISCHEREI Sound that YOU ORGY door slams Somewhere. E KAISER'S JUST LJUST DE GRAFFITI & FOTOS O GHETTOBLASTERS RE.K AN SALM SSAYS ACKING BACK Lut VASY am Kotte Germany TERCÜME YAPILIR TURKISCHINDEU BE Rabu OFLANGE BERLIN TÜRKCEM ( DEA RUBIN OFFNUNGSZEITEN: Ma-Fr: 12.00-18.00 Uv Sprinklerzetes to -61-603 Fax:615 15 83, ASI GORE chair base smells of meat "And this is a 2008 project, and it was during this time that I started to get more fascinated about to learn the history of the sites And so I was going into the city archives and I was pulling up the images... Smells of I started to research and think about and look at the site before it went through this massive development. Then I was also looking at images of construction and the different kind of social areas that were throughout the sixties, seventies, eighties and nineties. And during that time you find different kind of waves of protest. So we have a lot of early environmental and antinuclear energy protests. We have punk and squatter movements, as I mentioned, and we have often big Labour Day riots May 1st in Berlin, where it's the workers groups and sort of punk anarchists, and they'd be kind of very tense with police. And so this sort of social history, I also decided I wanted to pull into the works. ... now being ainted So this led to a new phase in my practice where PPP I started redrawing all of those historic images I was finding most often in pencil." Ranken und Konzerne 0212 Iron Curtis M chandran/n • INSTRUCTIONS Manifesto Need just 3 sheet booklet and Draw map using Photo Shop program • Student provided feedback and example • A3 booklet Size ( 3 Sheets) Please check example which is attached 1. mapping shieldfield-critical reflections and conclusions 2. alternative landscape imaginary- critical reflections and conclusions 3.opportunities and constraints 4.concept 5. 5-8 guiding principles (presented as a 'manifesto poster' A3) 6.illustration of spatial strategies 7.Final reflections So pls put up 3 to in one A3 sheets so 3 Sheets are needed as an example file Already a tutor put all things in one sheet 3eafile is already done fake it till you make it -principle and below it, you can explaint the principle Need 8 Principles 3ea2ad35 is completion by a tutor but need to make 3 sheets bookletSee Answer
  • Q7: -------- --- Mud ---------- Mean Low Water Mean High Water Mean Low Water Mud and Shingle I- --- --------- El Sub Sta Rising Bollard Boro Const & Met Car Park Der Mud and Shingle Mean High Water Mud and Shingle 1 to 18 Gateshead Sea Cadet Corps LLGATE --PEWELL 5.8m * ------- RABBIT BANKS ROAD Rising Bollard Fairway Court E---------- 29 6m 1 to 49 ROAD Tranquil House 19 to 35 El Sub Sta 1 to 101 1 to 97 Colombo Square Cameronian Square El Sub Sta El Sub Sta HIGH LEVEL ROAD Kenilworth House 1 to 36/n LANDSCAPE ARCHITECTURE DESIGN STUDIO 3: MATERIALITY OF LANDSCAPE 1.0 Introduction 1.1 Project Aims In line with the overall module ethos and aims, this project sets out to: • Engage you with the relationship of material, form, construction and space. • Build essential landscape architectural skills that will assist you in the production of spatial form. Considering norms of production, documentation, material life cycles and performance. The project invites you to: • • Revalue materials as vibrant matter (Bennet, J. 2010) with entangled temporalities. Explore an experimental and iterative design process of finding, revealing and rearranging in the context of planetary health and wellbeing; 1.2 Context Every year, we extract almost 90 billion tons of raw materials from the Earth. A single smartphone, for example, can carry roughly 80% of the stable elements on the periodic table. The rate of accumulation for anthropogenic mass has now reached 30 gigatons (Gt) equivalent to 30 billion metric tons per year, based on the average for the past five years. This corresponds to each person on the globe producing more than his or her body weight in anthropogenic mass every week. At the top of the list is concrete. Used for buildings, landscapes and infrastructure, concrete is the second most used substance in the world, after water. Bricks and aggregates like gravel and sand also represent a big part of human-made mass. The mass of plastic we have manufactured in the last 100 years is greater than the overall mass of all terrestrial and marine animals combined (Vendetti, 2021). According to one estimate, the use of the above and other carbon-intensive landscape materials can generate an average of 1,100 tons of carbon dioxide per year, per practicing landscape architect (ASLA, 2017) In June 2019, The Landscape Institute declared a Climate and Biodiversity Emergency. They committed to equipping the profession to provide solutions to both entangled issues and to advocating for measures to address the emergencies with governments and industry. In Spring this year (2024), The Landscape Institute will publish its briefing report on Embodied and Operational Carbon. It is expected to highlight the important role that Landscape Architects can play in reducing carbon emissions' climate impacts and in finding opportunities to store carbon. In order that we fulfil our duty, as Landscape Architects, to promote sustainable development and environmentally responsible use of resources (Landscape Institute, 2021), we must embrace embodied and operational Carbon considerations and ensure that we make fully informed material and production choices across all design stages. 1.3 Lectures and Workshops Lectures and workshops provided throughout this module will complement this brief, but you are expected to investigate references for yourself for further information and inspiration. 1.4 Glossary or Key Word + Concepts Embodied Carbon (n): Operational Carbon (n): The emissions associated with energy used to operate the building or in the operation of infrastructure (UKGBC, 2021). Planetary (n): The entire greenhouse gas emissions generated in order to create a project, in including carbon in the materials specified in the design and delivery of landscape schemes (Howard, 2023). Relating to the earth as a planet. "planetary climatic change" Temporalities (plural n): The state of existing within or having some relationship with time. "like spatial position, temporality is an intrinsic property of the object" 1.5 References ASLA. (2017). Climate Change Mitigation: Landscape Materials and Construction. Climate Change Mitigation: Landscape Materials and Construction. https://www.asla.org/mitigationmaterials.aspx Vendetti, B. (2021). Visualizing the Accumulation of Human-Made Mass on Earth. https://www.visualcapitalist.com/visualizing-the-accumulation-of-human- made-mass-on-earth/ Howard, A. (2023). Counting Embodied Carbon. Landscape, the Journal of the Landscape Institute. Landscape Institute. (2021). The Landscape Institute Code of Practice. UKGBC. (2021, November). Operational & Embodied Carbon Explainer Guide. The Net Zero Whole Life Carbon Roadmap. 2.0 The Brief For this brief you will take forward the design you developed for APL8005(MLA). Taking account of both embodied and operational carbon you will refine your proposals iteratively using the Climate Positive Design Pathfinder tool, to minimise and mitigate the footprint of your design. You will be shown how to use the tool and produce a ‘Years to Net O' estimate as part of the module induction. https://climatepositivedesign.com/pathfinder/ You will choose an area within your wider site design to develop to detailed design stage. We suggest you choose an area that provides you with the best opportunity to further explore its potential as a community space, that promotes health and well-being and is resilient, enriching, and inclusive. You will need to consider and incorporate the following: Consider how people will move to and through your space, ensuring opportunities for multi-modal travel including various forms of micro mobility as well as pedestrians. • • • Inspired by the heritage of your project site (in its wider sense i.e social, material etc.), design a piece of street furniture that interprets or represents the history of your site, this could be a previous site use or a famous historic figure associated with the site, for example. If your design does not already include sustainable urban drainage measures, you must now integrate a SuDS solution into your drainage strategy and landscape layout. You must try to minimise the amount of material that we remove from site. Try to retain as much materials on-site, reusing/recycling wherever possible. The work required for this brief is as follows: 2.1 Site survey and analysis/Mapping (revisited/refined/enhanced) You will already have carried out a site survey and analysis as part of your work. Using this as a starting point you will now complete the following: Select a 'detailed area': From your wider site, you will choose an area to design in detail. The area should fit on an A1 sheet at either 1:200 or 1:100 scale, allowing space for a legend and a title block (see 2.3 below and example layouts on Canvas). Site survey: A simple site survey of your chosen ‘detailed area' that includes the following aspects: topography (contours/levels - you may well need to extrapolate to estimate these), existing vegetation, climate/microclimate, history, existing uses, and access. Site analysis: your analysis of issues revealed by the survey and in relation to the brief – these should be captured in a constraints and opportunities plan. - 2.2 Strategy/concept The concept is the overarching idea behind your design and can often be encapsulated in a short phrase. Your concept is the 'golden thread' that underpins your design through each design stage. At the Detailed Design stage, your concept should inform and inspire your choice of materiality and form of spatial elements, street furniture and lighting. Students: • You will revisit your 'child friendly landscape' concept from your APL8005 work and explore this further in relation to this brief. You will capture these explorations and your final detailed design concept graphically, collated onto 1 x A3 sheet. 2.3 Carbon calculations • • Before you begin to refine your existing design, you will first produce an initial carbon footprint estimate of your proposed landscape surfaces and elements using the Climate Positive Design Pathfinder tool. You will use this first calculation as a baseline to guide the development of your detailed design, your material, production, and construction choices. Working iteratively to ensure you minimise the carbon footprint of your design, you will continue to utilise the Climate Positive Design Pathfinder tool to test various options/combinations of materials. You must complete at least 3carbon estimates using the Pathfinder tool, there is no upper limit to the number of ‘test calculations' your produce. Each time you use the tool you will need to reflect critically on the calculation produced - this will be in the form of short paragraph of text, explaining what the calculation indicated, how you interpreted it, how you might balance carbon considerations with other design drivers (aesthetics, user needs etc.), and how it will inform the next iteration of your detailed design. You will collate all calculations and reflections into a single document for submission, this will include your final carbon calculation based on your completed design./nSee Answer
  • Q8:c). Ad notes where appropriate. 2. Lighting Narrative. - (50 Points - 10 pts per item x 5 items) Create a written narrative of 500 -750 words with a separate cover sheet addressing the following questions: Parameters: 1. 2. 3. 4. சம் 5. What is the overall design/aesthetic concept to be achieved in the space, and why is this appropriate for your client? How will the lighting and ceiling design be an extension or a reinforcement of the concept? Discuss the 5 layers of light, lighting levels, and lighting design direction in your space. How will the finishes, furniture, and architectural detail be reflected in the lighting and ceiling designs? Discuss techniques you will incorporate for daylighting and energy efficiency throughout. %. The RCPS should be computer-generated in either Revit or AutoCAD. Then, you may use any program you wish to render the RCP. This includes Adobe Suite products, Revit/Enscape products, or even Power Point. The Narrative should be 11-point Arial font double spaced between 500 - 750 words. Submission: Upload 2 separate files to Blackboard Assessments · Upload the digital Rendered RCP to Blackboard with the following file name: . 202420_INDS302_A01_Purvis PROJ04_Last name First Name_RCP Upload the narrative to Blackboard with the following file name: 202420_INDS302_A01_Purvis PROJ04_Last name First Name_Narrative Assessment: . This project is worth 100 points and counts as 10% of your overall class grade./n PROJECT 4 LIGHTING DESIGN DEVELOPMENT Tam Nguyen INDS 302|A02 Winter 2024 Professor Purvis FLOOR 1 AFF 13' AFF 10'6" AFF 9' AFF 12' All ceilings are GWB ceilings Recessed Lighting Track Light LED Ring Pendant LED Linear ° ° ° о ° | | | | | | Furniture Plan Floor 1 ☐ ☐ ☐ ☐ 00000 ☐ I 0 4 10 FLOOR 2 AFF 10'6" AFF 8'6" AFF 9' 2x2 ACT ceiling All ceilings are GWB ceilings Recessed Lighting Track Light Globe Pendant Ring Pendant ° ° ° ° ° ° ° ° 0 ° © I- ° о ° a Ę mm ° Furniture Plan Floor 2 க க 00000 0 0 0 0 0 DO க க о 4 10See Answer
  • Q9: ARCH 225: HISTORY OF WORLD ARCHITECTURE I Paper Assignment: Historic Architecture and its Context OVERVIEW For this paper, you will research and analyze a specific building that falls within the chronological period covered in class--up to 1500 CE (see list below). The paper is a careful visual analysis of your building relating it to a specific, well-articulated social or cultural context. For the purpose of this paper, a context is any specific historical condition or circumstance immediately affecting the construction of a particular building (see list below). A context is not an architectural feature of the building, but rather a political, social, economic, cultural, or technological factor affecting the building from outside it. (N. B. An architectural style, such as Islamic or Gothic, is NOT a context.) It is important to choose a context that helps explain as many visual and physical aspects of your building as possible. For example, a paper on the Byzantine church of H. Sophia in Constantinople (Istanbul), might choose as a context the patronage of Emperor Justinian, along with his propaganda of reviving the ancient Roman Empire. As part of your research, you must learn the approximate dates of construction of the building in its original build. Use the library resources we discuss in class to guide you to sources on dates, patronage, political regimes, etc. You will compose your paper piece by piece over the course of this semester. First, you will complete eight separate draft components. Then, based on feedback from your instructor, you will revise your draft components and compile them into your final paper. 1 PAPER DRAFT COMPONENTS 1. Topic and Start-up Bibliography (2 pts; DUE THURS. 2/15 IN CLASS). a) Choose a building from the following list: - Amarna, Egypt. Great Temple of Aten (New Kingdom Egypt). - Susa, Iran. Apadana of Darius (Achaemenid Persia). - Delphi, Greece. Tholos sanctuary of Athena Pronoaia (Classical Greece). Rome, Italy. Domus Aurea, octagonal reception hall (Imperial Rome). - Teotihuacán, Mexico. Pyramid of the Feathered Serpent (Ancient Mexico). - Ravenna, Italy. Neonian Baptistery (Early Christian). - Chang'an, China. Great Wild Goose Pagoda (Tang China). - Conques, France. S. Foy (Romanesque Europe). - Reims, France. Reims Cathedral (Gothic Europe). - Djenné, Mali. Great Mosque of Djenné (Islamic sub-Saharan Africa; N. B. please discuss original build, not the 20th-century restoration). On the first page of your document, give the name of your building in the following way: (City), (Country). (Conventional name of building). (Approximate date range). b) On a new page, write a bibliography of at least three peer-reviewed journal articles, books, or entries from a scholarly encyclopedia such as Oxford Art Online (access through UMD online catalogue). You should search the database JSTOR (available through the UMD catalogue) for journal articles. N. B. Many books are available electronically during the COVID-19 through HathiTrust and other open-access resources--make sure to access the book through the UMD online catalogue, and then, when you get rerouted to HathiTrust log in again using your UMD credentials. Your bibliography should rigorously follow correct Turabian-style bibliography format.¹ ¹ https://www.chicagomanualofstyle.org/turabian/turabian-notes-and-bibliography-citation- quick-guide.html 2 2. Glossary and Images (4 pts; DUE THURS. 2/22 IN CLASS). a) On the first page of a new document, write a glossary of fifteen specialized architectural terms necessary for the description of your building, accompanied by definitions in your own words. These terms should not be universal vocabulary such as "massing" or "poché," but terms specific to the style of your building, such as "flying buttress," "apadana," or "talud-tablero". b) Starting a new page on the same document, include three images, each with a caption that reads "Figure [#]. [Name of building]. [Type of image (eg. Plan, Section, Elevation, Axonometric Drawing, Isometric Drawing, Photograph of Exterior, Photograph of Interior, Detail]]." 3. Thesis Paragraph (4 pts; DUE THURS. 3/7 IN CLASS). Starting a new document, write a thesis paragraph, 4 - 7 sentences in length. The purpose of this paragraph is to launch your research argument, which states a hypothesis that relates the architectural form of your building to a specific historical context. A context is a historical condition pertinent to the moment of the building's construction and directly affecting the form of a particular building (see list below). Think deeply about the first sentence and how it will hook the reader directly into the premise of this paper. Please pick one of the following as a context: - function of use. - site (the dimensions, topographical, environmental, or urban character of the specific location). - patron (the individual who paid for or ordered the construction of the building, whether a ruler, a priest, or a wealthy elite). - political regime. -building technology. 3 - specific religious symbolism (only choose this if your sources know the specific symbolism; do not write a paper about how a Gothic Cathedral is vaguely religious). N. B. The style/building culture (Roman, Gothic, etc.) of your building is NOT a suitable context, as it refers to the general character of architecture during the time period rather than a condition affecting your particular building. Please do not write a paper explaining that a building has Gothic features because it is in the Gothic style. 4. Annotated Bibliography (4 pts; DUE THURS. 3/14 IN CLASS). The purpose of this assignment is to take research notes based on your reading and consolidate them in one document. Duplicate your Bibliography document as a new file and rename it "Annotated Bibliography." Under each bibliographic entry, take research notes based on your reading of that source, using correct Turabian style footnotes. DO NOT COPY sentences directly from your sources. Write them as short, simple notes in your own words, citing the source from which the information for each note comes. Later, you will copy-and-paste these notes (along with their footnotes) into your paper and mold them into a cohesive argument. 5. Context Paragraph (4 pts; DUE THURS. 3/28 IN CLASS). In a new document, write a paragraph detailing the context you have chosen for your paper and how it relates to the construction of the building. This paragraph should synthesize your research notes to tell the specific story that is your context. Give any relevant events and trends directly relevant to the context, as well as contemporaneous building events of your building (founding, dedication, building campaigns, etc.). This paragraph may make passing reference to more recent restorations of your building but should not dwell on this for any more than two sentences. This paragraph is about the original construction of your building and how your context directly affected it. 4 6. Typological Comparison Paragraph (4 pts; DUE THURS. 4/4 IN CLASS). In a new document, write a paragraph comparing your building to other examples from the same building culture (eg. Gothic) that belong to the same formal typology (eg. Early Christian octagonal Baptistery). Name and define the typology using architectural vocabulary, and describe the features that define your building as part of the typology and those that expand on or depart from the typology. What do these similarities and differences from other examples of the typology do to help your building address the context you have chosen to write about? 7. Thick Description (4 pts; DUE THURS. 4/18 IN CLASS). In a new document, write a 3-to-4-paragraph thick description focusing on the particular ways that the architecture of your building responds to the context you have chosen to write about. As opposed to a thin description, a thick description explains the deeper rationale behind architectural choices. Start your description at the general level (plan, massing, elevations, or the total form of the voids), and zero in on details that hammer home your point. 8. Conclusion Paragraph (4 pts; DUE THURS. 4/25 IN CLASS). In a new document, write a paragraph that synthesizes the main points of your thick description and reinforces their relationship to the context. Just as your introduction opened with a hook, the last sentence of your conclusion should be short and punchy, and ring with a sense of finality. 5See Answer
  • Q10: Copyright © 1973. University of Chicago Press. All rights reserved. 2 Chorale Man, Society, and Technology Architectural Character Every people that has produced architecture has evolved its own favorite forms, as peculiar to that people as its language, its dress, or its folklore. Until the collapse of cultural frontiers in the last cen- tury, there were all over the world distinctive local shapes and details in architecture, and the buildings of any locality were the beautiful children of a happy marriage between the imagination of the people and the demands of their countryside. I do not propose to speculate upon the real springs of national idiosyncrasy, nor could I with any authority. I like to suppose simply that certain shapes take a people's fancy, and that they make use of them in a great variety of contexts, perhaps rejecting the unsuitable applications, but evolving a colorful and emphatic visual language of their own that suits perfectly their character and their homeland. No one could mistake the curve of a Persian dome and arch for the curve of a Syrian one, or a Moorish one, or an Egyptian one. No one can fail to recognize the same curve, the same signature, in dome and jar and turban from the same dis- trict. It follows, too, that no one can look with complacency upon buildings transplanted to an alien environment. Yet in modern Egypt there is no indigenous style. The signature is missing; the houses of rich and poor alike are without character, without an Egyptian accent. The tradition is lost, and we have been cut off from our past ever since Mohammed Ali cut the throat of the last Mameluke. This gap in the continuity of Egyptian tradition has been felt by many people, and all sorts of remedies have been pro- posed. There was, in fact, a kind of jealousy between those who re- garded the Copts as the true lineal descendants of the Ancient Egyp- tians, and those who believed that the Arab style should provide the pattern for a new Egyptian architecture. Indeed, there was one statesmanlike attempt to reconcile these two factions, when Osman Moharam Pasha, the Minister of Public Works, suggested that Egypt be divided into two, rather as Solomon suggested dividing the baby, and that Upper Egypt be delivered to the Copts, where a traditional Pharaonic style could be developed, while Lower Egypt should go to the Moslems, who would make its architecture truly Arab! Fathy, Hassan. 19730 <i>Architecture for the Poor : An Experiment in Rural Egypt</i>. Chicago: University of Chicago Press. Accessed March 15, 2024. ProQuest Ebook Central. Created from ucb on 2024-03-15 22:48:04. Copyright © 1973. University of Chicago Press. All rights reserved. 20 Chorale: Man, Society, and Technology This story goes to show two things. One is the encouraging fact that people do recognize and wish to remedy the cultural confusion in our architecture. The other—not so encouraging—is that this confusion is seen as a problem of style, and style is looked upon as some sort of surface finish that can be applied to any building and even scraped off and changed if necessary. The modern Egyptian architect believes that Ancient Egyptian architecture is represented by the temple with its pylons and cavetto cornice, and Arab by clustered stalactites, whereas Ancient Egyptian domestic architec- ture was quite unlike temple architecture, and Arab domestic archi- tecture quite different from mosque architecture. Ancient Egyptian secular buildings like houses were light constructions, simple, with the clean lines of the best modern houses. But in the architectural schools they make no study of the history of domestic buildings, and learn architectural periods by the accidents of style, the obvious features like the pylon and the stalactite. Thus the graduate architect believes this to be all there is in "style," and imagines a building can change its style as a man changes clothes. It was thinking like this that led some architect to ruin the entrance to the classrooms at Gourna school by transforming the original archway into an Ancient Egyptian-style temple doorway complete with cavetto cornice. It is not yet understood that real architecture cannot exist except in a liv- ing tradition, and that architectural tradition is all but dead in Egypt today. As a direct result of this lack of tradition our cities and villages are becoming more and more ugly. Every single new building man- ages to increase this ugliness, and every attempt to remedy the situa-- tion only underlines the ugliness more heavily. Particularly on the outskirts of provincial towns where the most recent building has been taking place the ugly design of the houses is emphasized by the shoddy execution of the work, and cramped square boxes of assorted sizes, in a style copied from the poorer quarters in the metropolis, half finished yet already decaying, set at all angles to one another, are stuck up all over a shabby wilderness of unmade roads, wire and lines of washing hanging dustily over chicken runs. In these nightmarish neighborhoods a craving for show and modernity causes the house owner to lavish his money on the tawdry fittings and decorations of urban houses, while being miserly with living space and denying himself absolutely the bene- fits of real craftsmanship. This attitude makes the houses compact and outward-facing, so that the family has to air bedding over the public street, and air itself exposed to the neighborhood upon its barren balconies; whereas if the owners were less cheap-minded they could take advantage of the only house type that can make life tolerable in these places, the courtyard house, and enjoy both space Fathy, Hassan. 1973. <i>Architecture for the Poor: An Experiment in Rural Egypt</i>. Chicago: University of Chicago Press. Accessed March 15, 2024. ProQuest Ebook Central. Created from ucb on 2024-03-15 22:48:04. Copyright 1973. University of Chicago Press. All rights reserved. 21 The Process of Decision Making and privacy. Unfortunately this suburban architecture is the type that is taken by the peasants as a model of modernity and is gaining ground in our villages; on the outskirts of Cairo or Benha we can read the approaching fate of Gharb Aswan. To flatter his clients and persuade them that they are sophisticated and urban, the village mason starts to experiment with styles that he has seen only at second or third hand, and with materials that he cannot really handle with understanding. He abandons the safe guide of tradition, and without the science and experience of an architect tries to produce “architects' architecture.” The result is a building with all the defects and none of the advantages of the archi- tect's work. Thus the work of an architect who designs, say, an apartment house in the poor quarters of Cairo for some stingy speculator, in which he incorporates various features of modern design copied from fashionable European work, will filter down, over a period of years, through the cheap suburbs and into the village, where it will slowly poison the genuine tradition. So serious is this situation that a thorough and scientific investiga- tion of it becomes quite imperative if ever we are to reverse the trend toward bad, ugly, vulgar, and inefficient housing in our villages. Sometimes I have despaired at the size of the problem, and given it up as insoluble, the malign and irreversible operation of fate. I have succumbed to a feeling of helplessness, sadness, and pain for what was becoming of my people and my land. But when I found myself having to deal with the actual case of Gourna, I pulled myself together and began to think more practically about the problem. The Process of Decision Making Culture springs from the roots And seeping through to all the shoots To leaf and flower and bud From cell to cell, like green blood, Is released by rain showers As fragrance from the wet flowers To fill the air. But culture that is poured on men From up above, congeals then Like damp sugar, so they become Like sugar-dolls, and when some Life-giving shower wets them through They disappear and melt into A sticky mess. Fathy, Hassan. 1973. <i>Architecture for the Poor: An Experiment in Rural Egypt</i>. Chicago: University of Chicago Press. Accessed March 15, 2024. ProQuest Ebook Central. Created from ucb on 2024-03-15 22:48:04./n 8:59 Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #1: In his book Architecture for the Poor: An Experiment in Rural Egypt, Hassan Fathy conveys an attentiveness to cultural identity in architecture and laments the loss of an indigenous style in modern Egypt. Fathy writes: "Every people that has produced architecture has evolved its own favorite forms, as peculiar to that people as its language, its dress, or its folklore. Until the collapse of cultural frontiers in the last century, there were all over the world distinctive local shapes and details in architecture, and the buildings of any locality were the beautiful children of a happy marriage between the imagination of the people and the demands of their countryside" (Fathy 1973, 19). Through he work, he seeks to remedy the cultural confusion present in architecture for both the rich and poor. - How does Fathy aim to remedy the loss of identity of Egyptian architecture? Refer to and cite specific passages as you engage in a discussion. - What role does Fathy believe that 1) style and 2) tradition play in the pursuit of authentic identity? -Should architects and clients have a rightful capacity to "incorporate various features of modern design copied from fashionable European work... though cheap suburbs and into a village, where it will slowly poison genuine tradition" (Fathy 1973, 21)? 2 4 000 000 Dashboard Calendar To Do Notifications Inbox 8:59 Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #2: Fathy sought to create a contemporary vernacular architecture for post-colonial Egypt. In his pursuit to integrate a range of vernacular techniques that belonged to cultures with multiple different languages and traditions, he created his own vernacular style. Through the process, he found that his interpretation of vernacular techniques did not align with the people who were meant to live in New Gourna. Hassan Fathy's work raises questions about what an authentic vernacular architecture is. What does Fathy do at New Gourna that supports the notion of vernacular architecture? What does he do that could possibly compromise or support it? Refer to and cite specific passages from Architecture for the Poor: An Experiment in Rural Egypt as you engage in a discussion. - Does vernacular architecture belong to a particular culture? If there are benefits to the planet or a community using sustainable methods that originate from a vernacular architecture, are there errors in utilizing such methods? - Is it possible to create an authentic, environmentally sensitive vernacular architecture today? Prompt #3: 2 4 000 000 Dashboard Calendar To Do Notifications Inbox 8:59 < Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #3: Fathy's vision included the use vernacular construction methods such as Nubian mud vaulting in the Village of New Gourna. Fathy recounts: "The next day our party went to see the Fatimid Cemetery at Aswan. This is a group of elaborate shrines, dating from the tenth century, built entirely in mud brick, where vaults and domes are employed with splendid assurance and style. Here too mud brick domes and vaults are employed, but the simplicity and humility of the monastic ideal is revealed in the architecture, which thus proves able to accommodate equally well the contrasting inspirations of the Moslem and Christian religion" (Fathy 1973, 7). He was enthusiastic about bring back old traditions and cooperative building methods. However, for many of the potential inhabitants, the inclusion of domes in the house designs meant for mosques and tombs, not homes. -The Village of New Gourna in Egypt raises questions about cultural appropriation. Refer to and cite specific passages as you engage in a discussion. - Can culture be misappropriated in architecture? If so, how? If not, why not? Use specific examples and depth of analysis to clearly demonstrate your perspective. -Make an argument in support of or challenging Fathy's use of culture in the Village of New Gourna. Is it appropriately utilized, misappropriated, or neither. Use references from the readings and possible the village to support your position. 2 4 000 Dashboard Calendar To Do Notifications Inbox 8:59 Back Discussion Details ARCH 3214-001: Hist & Thry of Architecture 2 5G 15 Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating.. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. 2 4 000 Dashboard Calendar To Do Notifications Inbox 8:59 Back Discussion Details 5G 15 ARCH 3214-001: Hist & Thry of Architecture 2 (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating.. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 4. Your response is respectful, charitable, kind, and displays a concerted effort to avoid defensive or aggressive reactions. 5. Your reply adheres to all the expectations of the classroom behavior outlined in the syllabus. Reply 2 4 000 000 Dashboard Calendar To Do Notifications InboxSee Answer
  • Q11: Biorealism and Survival Through Design Prompt #1: Through biorealism, Neutra pioneered a new approach that addressed the primary role of physiology and psychology in architecture. In Survival Through Design 1954, he wrote: "It is strange that human beings have hardly ever been studied with regard to their vital needs and care, the way rooted plants are studied in order to aid the agronomist in his work. Little information of this kind has been collected in practical handbooks printed for the architect and the designer. The sort of investigation spoken of here is not at all revolutionary in itself. Only its application to design has so far been rather fragmentary. The most specifically human endowment to be studied is a nervous system fused to an upper brain of extraordinary volume and complexity" (Neutra 1954, 2). Today, the use of scientific knowledge in service of design is often referred to as evidence-based design. Evidence- based design involves the process of constructing a building or physical environment based on scientific research to achieve the best possible outcomes. - Refer to and cite specific passages as you engage in a discussion about: 1) the level of knowledge that designers need about human physiology and psychology and 2) the type of evidence that would most benefit the practice of design. -Should there be more biological, scientific and/or psychological research that informs design decisions? - Refer to and cite specific passages as you engage in a discussion about: 1) the level of knowledge that designers need about human physiology and psychology and 2) the type of evidence that would most benefit the practice of design. -Should there be more biological, scientific and/or psychological research that informs design decisions? - Provide examples, from your lived experience, of spaces that were inadequately designed for a balanced human nervous system and one that caused an imbalance. If there were wearable devices that provided real-time feedback on spaces that measured human responses to spaces in connection to health markers (stress, heart race, toxins etc.), would you wear one? If so, why? If not, why not? Prompt #2: Within the framework of biorealism, the proximity to nature is critical for optimal health and considered an element of good design. Paradoxically, Survival Through Design offers a critique of how society has damaged and polluted. "Nature has too long been outraged by the design of nose rings, corsets, and foul-aired subways. Perhaps our mass-fabricators of today have shown themselves particularly out of touch with nature.” (Neutra 1954, 110). In many parts of the world today, the Prompt #2: Within the framework of biorealism, the proximity to nature is critical for optimal health and considered an element of good design. Paradoxically, Survival Through Design offers a critique of how society has damaged and polluted. "Nature has too long been outraged by the design of nose rings, corsets, and foul-aired subways. Perhaps our mass-fabricators of today have shown themselves particularly out of touch with nature..." (Neutra 1954, 110). In many parts of the world today, the nature that exists is not in its most purified state, so 'nature near' does not always mean health promoting. - Share reflections on the merits and weaknesses in Neutra's theory of biorealism. Highlight at least two weaknesses and two strengths. Cite specific passages and analyze your rationale. - From your contemporary lens, could 'nature near' be health compromising or health promoting? -Should architects be like medical practitioners responsible for healing the ailments of clients or inhabitants? - Consider the number of structures, buildings, spaces, and digital devices that an individual uses over their lifetime, how could one determine which specific design aspects cause harm? Prompt #3: Neutra's work seeks to protect the human race through healthful design and evidence-based practices. He writes: "Design, never a harmless play with forms and colors, changes outer life as well as our inner balances” (Neutra 1954, 2). Elements such as acoustical balances, pitch, air quality, toxins in the water, and sensory overload all impact the internal balances of the human condition. Design with an acute sensitivity to the whole human, he argues, has potential to enhance the health of humans.For example, the Lovell Health House by Neutra contains a pool, gym, filtered water, optimal site positioning, state-of-the art kitchen, sun-bathing terraces and other features for the family to live in optimal health. However, is not possible nor sustainable for the planet for each home to contain these elements. - Examine the ideas of biorealism through the lens of equity or environmental justice. As you engage in a discussion, refer to and cite specific passages from Survival Through Design. - If novel and healthful design practices are available only to a wealthy elite, where does an approach to good design cross into environmental injustice for those that cannot afford to tap such resources? - Could the tenets of biorealism be applied to all people? Is it necessary to pay an architect to reap the benefits of the theories? Prompt #4: Multiple times in Survival Through Design, Neutra argues that design can either aid in the survival of the human race or lead to its destruction. He writes: "Design is the cardinal means by which human beings have long tried to modify their natural environment, piecemeal and wholesale. The physical surroundings had to be made more habitable and more in keeping with rising aspirations. Each design becomes an ancestor to a great number of other designs and engenders a new crop of aspirations... Through the mental work of design, which is supposed to improve our lives, the race appears generally to stray farther and farther from the natural scene" (Neutra 1954, 111). The role of design is critical in the making of the planet habitable or uninhabitable. But what are the most effective measures to make it better? - As you engage in a discussion, refer to and cite specific passages from Survival Through Design that demonstrate Neutra's ideas to counter potential harms (such as the index of liveability) and to, ideally, enhance design practices for humanity. -Like product manufacturers, who are responsible for the effectiveness of their products, what degree of responsibility do architects/designers have when designing buildings for clients? - What are the advantages and disadvantages of systematic observation and legislation that governs design to monitor the impacts on human health?See Answer
  • Q12: 2:30 < To Do Assignment Details 5G 48 ARCH 3214-001: Hist & Thry of Architecture 2 Discussion Questions Organic Architecture Prompt #1: "In the Cause of Architecture, Second Paper," published in Architectural Record 1914, Frank Lloyd Wright writes: "The sins of an Architect are permanent sins. To promote good work it is necessary to characterize bad work as bad. Half-baked, imitative designs, fictitious semblances, pretentiously put forward in the name of a movement or a cause... endanger the cause, weaken the efficiency of genuine work... lower the standard of artistic integrity permanently until utter social evil results" (Wright 1914, 407). Identify and cite passages from "In the Cause of Architecture II" that depict what he considers to be the qualities of "good" work? What does he depict as 'bad' work? What are the social evils that he is warning against? What are the ethical ramifications of architecture according to Wright? - What do you see as the ethical ramifications of architecture? Provide an example that you believe exemplifies and explain your reasoning. Prompt #2: View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:31 < To Do Assignment Details 5G 48 ARCH 3214-001: Hist & Thry of Architecture 2 - Does the use of the machine, extreme cantilevers, or structural innovation counter the advice to use natural materials or the inherent 'nature of nature'? Prompt #3: "In the Cause of Architecture, Second Paper," Wright conveys his aspiration to create a new framework for architecture that relies on tenants of Organic Architecture without requiring rules while also creating ideals that may never be achieved. Wright argues: "And I still believe that the ideal of an organic architecture forms the origin and source, the strength and, fundamentally, the significance of everything ever worthy the name of architecture... And I know that the sense of an organic architecture, once grasped, carries with it in its very nature the discipline of an ideal at whatever cost to self-interest or an established order. It is itself a standard and an ideal" (Wright 1914, 406). - Examine Organic Architecture's tenuous position between an idea and standard through the writing and built work of Wright. Refer to and cite specific passages as you build your discussion. Feel free to upload or sketch images to further analyze and communicate. - How would you differentiate a standard from an ideal? Should Organic architecture be a standard or an ideal? View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:30 < To Do Assignment Details 5G 48 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #2: In 1908 Architectural Record, Wright authored the first of a two-part essay series called "In the Cause of Architecture I" in which he offers a definition of organic architecture and recommendations for how designers can employ it. He writes: "Colors require the same conventionalizing process to make them fit to live with that natural forms do; so go to the woods and fields for color schemes. Use the soft, warm, optimistic tones of earths and autumn leaves in preference to the pessimistic blues, purples, or cold greens and grays of the ribbon counter; they are more wholesome and better adapted in most cases to good decoration" (Wright 1908). He further expounds upon the importance of individuality within homes and how there needs to be differentiation for the range of inhabitants. - Examine closely this writing and the recommendations set forth in this document. Refer to and cite specific passages as you build your discussion. -Are there contradictions in the guidance offered? For example, can individuality or cultural differentiation exist within his framework of a nature inspired aesthetic? Can paintings on the wall also compliment organic architecture? - Does the use of the machine, extreme cantilevers, or structural innovation counter the advice to use natural View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:31 < To Do Assignment Details 5G 47 ARCH 3214-001: Hist & Thry of Architecture 2 away from natural organic processes? Wright claims that "Nothing is more difficult to achieve than the integral simplicity of organic nature, amid the tangled confusions of the innumerable relics of form that encumber life for us. To achieve it in any degree means a serious devotion to the "underneath" in an attempt to grasp the nature of building a beautiful building beautifully, as organically true of itself, to itself as to its purpose, as a tree or flower" (Wright 1914, 413). One might ask, if it is so difficult, should we try? Refer to and cite specific passages as you engage in a discussion with Wright and other proponents of Organic architecture with your eyes of 2024. What could be added to the framework to be more sustaining or nourishing for the planet? - Could Organic Architecture be perceived as another way for humans to feel good about inherent ecological harm? Should we try to make concrete, steel, stone, wood, or glass buildings that look like they grasp an organic essence? -Should the goals of Organic Architecture be more than trying to grasp the essence of nature through architecture? View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications Inbox 2:31 < To Do Assignment Details 5G 47 ARCH 3214-001: Hist & Thry of Architecture 2 - How would you differentiate a standard from an ideal? Should Organic architecture be a standard or an ideal? Can it be an ideal and a standard simultaneously? - How does Organic Architecture differ from other Sustainability metric systems such as LEED? Do you think Wright would be in favor or reject such frameworks? Prompt #4: If humans are working with extreme effort to try to achieve the integral simplicity of organic nature, might this be a warning sign that society has stepped too far away from natural organic processes? Wright claims that "Nothing is more difficult to achieve than the integral simplicity of organic nature, amid the tangled confusions of the innumerable relics of form that encumber life for us. To achieve it in any degree means a serious devotion to the "underneath" in an attempt to grasp the nature of building a beautiful building beautifully, as organically true of itself, to itself as to its purpose, as a tree or flower" (Wright 1914, 413). One might ask, if it is so difficult, should we try? Refer to and cite specific passages as you engage in a discussion with Wright and other proponents of Organic architecture with your eyes of 2024. What could be added to the framework to be more sustaining or View Discussion 2 4 DOO 000 Dashboard Calendar To Do Notifications InboxSee Answer
  • Q13: Prompt #1: When given the opportunity to showcase the most beautiful building in the world and capture the spirit of the machine age, in the Chicago Tribune Tower competition, the Design Jury opted for the Neo-Gothic proposal. Sullivan challenged the Tribune selection saying: "These men made a solemn promise to the world. Why did they renege? Individually and jointly, they made a triple promise... A design setting forth the most beautiful conception of a lofty office building that has been evolved by the fertile mind of man, was presented squarely to them at the last moment. Were they frightened? Why did they welch? Did they come upon a ghost, an apparition? ... For no choice exists without motive" (Sullivan 1923, 157). Why does Louis Sullivan believe that they fell short on the promise that they made? What do you see as the motive(s) for selecting the Neo-Gothic structure? Analyze Sullivan's critique of the Chicago Tribune Tower and challenge his assessment. Be specific in examining his use of words in your analysis. What perspective was Sullivan missing? What could have been further examined (urban context, interior spaces, functional needs, cultural context etc.) in the critique? Prompt #2 1922 was a landmark year in American architecture with the initiation of the Chicago Tribune competition. For many architects internationally, it was a unique opportunity to retire the eclecticist approach relying on historical precedents and to offer a new vision for American architecture. Sullivan argued that: “The first prize is demoted to the level of those works evolved of dying ideas, even as it sends forth a frantic cry to escape from the common bondage of those governed by ideas" (Sullivan 1923, 153). If you were on the Design Jury, would you have selected Howells and Hood's proposal as the winning scheme? If so, why and if not, why not? Would historical reference inform your selection? Compare and contrast the characteristics of at least two of the design proposals and make a case for why they should have risen to the top. Reference passages from Sullivan's article and examine closely the distinguishing characteristics between the proposals? Prompt #3: There is a dynamic interplay between urban infrastructure, zoning regulations, economics, cultural, and environmental forces that are instrumental ultimately in building design. Examine the article, "Zoning and "Zeitgeist": The Skyscraper City in the 1920s" by Carol Willis who examines the relationship zoning policies and the development of a new era for American architecture and urbanism. She writes: "Yet, in the many prophecies of a rationalized skyscraper city that were advanced in the 1920s, we can preview the birth of what many architects and critics of the period excitedly pronounced a new era in American architecture and urbanism" (Willis 1986, 47). - While architects were seeking a new authentic American style, were the zoning laws ultimately shaping it? Examine supportive and contradictory positions - In The American Architecture of Today Edgell celebrated zoning as "the first great instrument of control, working for the good of humanity, of science and of art” (Willis 1985, 49). If zoning is an instrument of control, how is architecture instrumental? - What role did setbacks have in the transformation of the urban landscape? - Did Sullivan overlook the zoning ordinance and the - Did Sullivan overlook the zoning ordinance and the infrastructural relationships that preliminarily dominated the architectural forms of the Chicago Tribune competition? Prompt #4: When a new form is invented, whether it be in art, literature, or architecture, some of the worst and most misguided criticisms are written during the infancy of a new form. These reactions can also be some of the most original, keen, and cutting. - Examine the Chicago Tribune Tower proposals and Sullivan's article, do you find points of wisdom for architects or detrimental perspectives articulated? - Share these perspectives, analyze, and critique. Offer citations from the selected passages. - With some historical distance from the Chicago Tribune competition, how do you see the Tribune tower differently? Discussion Framework: Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion.See Answer
  • Q14: Prompt #1: Loos argues that "the evolution of ornament is synonymous with the removal of ornament from utilitarian objects" (Loos 1908, 20). Can society evolve by the discarding of ornamentation? If so, how? If not, why not? Can you identify contradictions in Loos' writing or built work that invalidate these statements? Provide your working definition of ornament for clarity. Prompt #2: Consider the role of symbolism and cultural identity through the words of Loos. Are there any ideas that are incorrectly valued? Refer to the specific passages in both "Ornament and Crime" and "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos." What cultural perspectives do you see embedded in these writings? What could be the implications for cultural identity, if ornamentation is removed? Prompt #3: According to Loos, is ornamentation a disease, a crime or both? Do you agree or disagree with Loos' assessment? Explain your reasoning. Find particular passages that support your assessment. What is the role of ornament in architecture today? Are there certain types of structures/buildings that benefit/deserve/need it more than others? 8:53 Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 < To Do Prompt #4: ا 100 Compare and contrast Loos' position on ornament through the work of Canales and Herscher "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos" and "Ornament and Crime." When asked to design a building for the Mexican parliament what does he do and why? How does modern ornament differ from that embedded cultural ornament? Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 4. Your response is respectful, charitable, kind, and displays a concerted effort to avoid defensive or aggressive reactions. 5. Your reply adheres to all the expectations of the classroom behavior outlined in the syllabus.See Answer
  • Q15: Prompt #1: Loos argues that "the evolution of ornament is synonymous with the removal of ornament from utilitarian objects" (Loos 1908, 20). Can society evolve by the discarding of ornamentation? If so, how? If not, why not? Can you identify contradictions in Loos' writing or built work that invalidate these statements? Provide your working definition of ornament for clarity. Prompt #2: Consider the role of symbolism and cultural identity through the words of Loos. Are there any ideas that are incorrectly valued? Refer to the specific passages in both "Ornament and Crime" and "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos." What cultural perspectives do you see embedded in these writings? What could be the implications for cultural identity, if ornamentation is removed? Prompt #3: According to Loos, is ornamentation a disease, a crime or both? Do you agree or disagree with Loos' assessment? Explain your reasoning. Find particular passages that support your assessment. What is the role of ornament in architecture today? Are there certain types of structures/buildings that benefit/deserve/need it more than others? 8:53 Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 < To Do Prompt #4: ا 100 Compare and contrast Loos' position on ornament through the work of Canales and Herscher "Criminal Skins Tattoos and Modern Architecture in the Work of Adolf Loos" and "Ornament and Crime." When asked to design a building for the Mexican parliament what does he do and why? How does modern ornament differ from that embedded cultural ornament? Discussion Framework: Part 1 (your initial post): Your initial post must meet the following: 1. Respond to one of the prompt options for the week. (That is not a free-write or write whatever you want). 2. Title the post to correspond to the chosen prompt. 3. Compose a response that consists of at least 200 words, of your own writing, which critically examine the reading(s) and engage the prompt. (Please omit any unnecessary fluff to reach a particular word count.) 4. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 5. Thoughtfully engage with peers' work. Some responses may include concluding questions to further discussion. For Part 2 (your engagement post): 1. You then reply to at least one person with a substantive post, which is around at least 150 words. (No fluff). 2. Your reply must do the following: 1. The engagement response utilizes one technique of Bailey's guide to participating. 2. Your reply begins by identifying which technique that you are doing (e.g. #5 Offer an Objection) 3. Express your thoughts in clear and careful writing. Make sure to type, review, and edit before posting. (Please do not write like you are Snapchatting or texting a friend.) Use complete sentences and appropriate terminology. Provide evidence from the text to support your position. Where relevant, refer to direct passages using the Chicago Manual of Style Author Date parenthetical citation. These quotations are not included in your reflection word count. 4. Your response is respectful, charitable, kind, and displays a concerted effort to avoid defensive or aggressive reactions. 5. Your reply adheres to all the expectations of the classroom behavior outlined in the syllabus.See Answer
  • Q16: Complexity and Contradiction in Architecture Robert Venturi with an introduction by Vincent Scully The Museum of Modern Art Papers on Architecture The Museum of Modern Art, New York in association with the Graham Foundation for Advanced Studies in the Fine Arts, Chicago Distributed by New York Graphic Society, Boston Contents Acknowledgments 6 Foreword 8 Introduction 9 Preface 13 1. Nonstraightforward Architecture: A Gentle Manifesto 16 2. Complexity and Contradiction vs. Simplification or Picturesqueness 16 3. Ambiguity 20 4. Contradictory Levels: The Phenomenon of "Both-And" in Architecture 23 5. Contradictory Levels Continued: The Double-Functioning Element 34 6. Accommodation and the Limitations of Order: The Conventional Element 41 7. Contradiction Adapted 45 8. Contradiction Juxtaposed 56 9. The Inside and the Outside 70 10. The Obligation Toward the Difficult Whole 88 11. Works 106 Notes 132 Photograph Credits 133 Preface This book is both an attempt at architectural criticism and an apologia-an explanation, indirectly, of my work. Because I am a practicing architect, my ideas on architec- ture are inevitably a by-product of the criticism which accompanies working, and which is, as T. S. Eliot has said, of "capital importance. in the work of creation itself. Probably, indeed, the larger part of the labour of sifting, combining, constructing, expunging, correcting, testing: this frightful toil is as much critical as creative. I maintain even that the criticism employed by a trained and skilled writer on his own work is the most vital, the highest kind of criticism . . ." ¹ I write, then, as an architect who em- ploys criticism rather than a critic who chooses architecture and this book represents a particular set of emphases, a way of seeing architecture, which I find valid. 1 In the same essay Eliot discusses analysis and compari- son as tools of literary criticism. These critical methods are valid for architecture too: architecture is open to analysis like any other aspect of experience, and is made more vivid by comparisons. Analysis includes the breaking up of archi- tecture into elements, a technique I frequently use even though it is the opposite of the integration which is the final goal of art. However paradoxical it appears, and de- spite the suspicions of many Modern architects, such disin- tegration is a process present in all creation, and it is essential to understanding. Self-consciousness is necessarily a part of creation and criticism. Architects today are too educated to be either primitive or totally spontaneous, and architecture is too complex to be approached with carefully maintained ignorance. As an architect I try to be guided not by habit but by a conscious sense of the past-by precedent, thoughtfully considered. The historical comparisons chosen are part of a continuous tradition relevant to my concerns. When Eliot writes about tradition, his comments are equally relevant to architecture, notwithstanding the more obvious changes in architectural methods due to technological innovations. "In English writing," Eliot says, "we seldom speak of tradi- tion. . . . Seldom, perhaps, does the word appear except in a phrase of censure. If otherwise, it is vaguely approbative, with the implication, as to a work approved, of some pleasing archeological reconstruction. . . . Yet if the only form of tradition, of handing down, consisted in following the ways of the immediate generation before us in a blind or timid adherence to its successes, 'tradition' should be positively discouraged. Tradition is a matter of much wider significance. It cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense, which we may call nearly indis- pensable to anyone who would continue to be a poet beyond his twenty-fifth year; and the historical sense in- volves perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe . has a simultaneous existence and composes a simultaneous or- der. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and temporal together, is what makes a writer traditional, and it is at the same time what makes a writer most acutely conscious of his place in time, of his own contemporaneity. ... No poet, no artist of any kind, has his complete meaning alone." 2 I agree with Eliot and reject the obsession of Modern architects who, to quote Aldo van Eyck, "have been harping continually on what is different in our time to such an extent that they have lost touch with what is not differ- ent, with what is essentially the same." ³ 4 The examples chosen reflect my partiality for certain eras: Mannerist, Baroque, and Rococo especially. As Henry-Russell Hitchcock says, "there always exists a real need to re-examine the work of the past. There is, presuma- bly, almost always a generic interest in architectural history among architects; but the aspects, or periods, of history that seem at any given time to merit the closest attention cer- tainly vary with changing sensibilities." * As an artist I frankly write about what I like in architecture: complexity and contradiction. From what we find we like-what we are easily attracted to-we can learn much of what we really are. Louis Kahn has referred to "what a thing wants to be,” but implicit in this statement is its opposite: what the architect wants the thing to be. In the tension and balance between these two lie many of the architect's decisions. The comparisons include some buildings which are nei- ther beautiful nor great, and they have been lifted abstractly from their historical context because I rely less on the idea of style than on the inherent characteristics of specific buildings. Writing as an architect rather than as a scholar, my historical view is that described by Hitchcock: "Once, of course, almost all investigation of the architecture of the past was in aid of its nominal reconstitution-an instru- ment of revivalism. That is no longer true, and there is little reason to fear that it will, in our time, become so again. Both the architects and the historian-critics of the early twentieth century, when they were not merely seeking in the past fresh ammunition for current polemical warfare, taught us to see all architecture, as it were, abstractly, false though such a limited vision probably is to the complex sensibilities that produced most of the great architecture of the past. When we re-examine or discover-this or that aspect of earlier building production today, it is with no idea of repeating its forms, but rather in the expectation of feeding more amply new sensibilities that are wholly the product of the present. To the pure historian this may seem regrettable, as introducing highly subjective elements into what he believes ought to be objective studies. Yet the pure historian, more often than not, will eventually find himself moving in directions that have been already determined by more sensitive weathervanes." 5 I make no special attempt to relate architecture to other things. I have not tried to "improve the connections be- tween science and technology on the one hand, and the humanities and the social sciences on the other . and make of architecture a more human social art." I try to talk about architecture rather than around it. Sir John Summerson has referred to the architects' obsession with "the importance, not of architecture, but of the relation of architecture to other things."" He has pointed out that in this century architects have substituted the "mischievous analogy" for the eclectic imitation of the nineteenth century, and have been staking a claim for architecture rather than producing architecture. The result has been diagrammatic planning. The architect's ever diminishing power and his growing ineffectualness in shaping the whole environment can perhaps be reversed, ironically, by narrowing his con- cerns and concentrating on his own job. Perhaps then relationships and power will take care of themselves. I accept what seem to me architecture's inherent limitations, and attempt to concentrate on the difficult particulars within it rather than the easier abstractions about it ". . . because the arts belong (as the ancients said) to the prac- tical and not the speculative intelligence, there is no sur- rogate for being on the job." 8 9 This book deals with the present, and with the past in relation to the present. It does not attempt to be visionary except insofar as the future is inherent in the reality of the 14 present. It is only indirectly polemical. Everything is said in the context of current architecture and consequently certain targets are attacked-in general, the limitations of orthodox Modern architecture and city planning, in particular, the platitudinous architects who invoke integrity, technology, or electronic programming as ends in architecture, the popularizers who paint "fairy stories over our chaotic reality" "10 and suppress those complexities and contradic- tions inherent in art and experience. Nevertheless, this book is an analysis of what seems to me true for architecture now, rather than a diatribe against what seems false. Note to the Second Edition I wrote this book in the early 1960's as a practicing architect responding to aspects of architectural theory and dogma of that time. The issues are different now, and I think the book might be read today for its general theories about architectural form but also as a particular document of its time, more historical than topical. For this reason the second part of the book, which covers the work of our firm up to 1966, is not expanded in this second edition. I now wish the title had been Complexity and Con- tradiction in Architectural Form, as suggested by Donald Drew Egbert. In the early '60's, however, form was king in architectural thought, and most architectural theory focused without question on aspects of form. Architects seldom thought of symbolism in architecture then, and social issues came to dominate only in the second half of that decade. But in hindsight this book on form in architecture comple- ments our focus on symbolism in architecture several years later in Learning from Las Vegas. To rectify an omission in the acknowledgments of the first edition, I want to express my gratitude to Richard Krautheimer, who shared his insights on Roman Baroque architecture with us Fellows at the American Academy in Rome. I am grateful also to my friend Vincent Scully for his continued and very kind support of this book and of our work. I am happy that The Museum of Modern Art is en- larging the format of this edition so that the illustrations are now more readable. Perhaps it is the fate of all theorists to view the ripples from their works with mixed feelings. I have some- times felt more comfortable with my critics than with those who have agreed with me. The latter have often misapplied or exaggerated the ideas and methods of this book to the point of parody. Some have said the ideas are fine but don't go far enough. But most of the thought here was intended to be suggestive rather than dogmatic, and the method of historical analogy can be taken only so far in architectural criticism. Should an artist go all the way with his or her philosophies? R.V. April, 1977/n 9:27 .5G 214 < To Do MH Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 Marianne Holbert 16 Apr 2024 at 4:25 PM Prompt #1: Metabolism proposed radical ideas for urban renewal and regeneration. "A key passage in the Metabolist declaration reads. 'We regard human society as a vital process, a continuous development from atom to nebula. The reason why we use the biological word metabolism is that we believe design and technology should denote human vitality. We do not believe that metabolism indicates only acceptance of a natural, historical process, but we are trying to encourage the active metabolic development of our society through our proposals.' This is an important element in our declaration for two reasons. First, it reflects our feelings that human society must be regarded as one part of a continuous natural entity that includes all animals and plants. Secondly, it expresses our belief that technology is an extension of humanity." (Kurokawa 1971, 27). Are humans an extension of technology or separate from it? Refer to and cite specific passages as you engage the discussion. - What demonstrates the Metabolists' belief that technology is an extension of humanity? - How did Metabolism address the need for change and transformation within urban environments? - Analyze passages Metabolism in Architecture and View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:27 < To Do Assignment Details . 5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 process, a continuous development from atom to nebula. The reason why we use the biological word metabolism is that we believe design and technology should denote human vitality. We do not believe that metabolism indicates only acceptance of a natural, historical process, but we are trying to encourage the active metabolic development of our society through our proposals.' This is an important element in our declaration for two reasons. First, it reflects our feelings that human society must be regarded as one part of a continuous natural entity that includes all animals and plants. Secondly, it expresses our belief that technology is an extension of humanity." (Kurokawa 1971, 27). Are humans an extension of technology or separate from it? Refer to and cite specific passages as you engage the discussion. - What demonstrates the Metabolists' belief that technology is an extension of humanity? - How did Metabolism address the need for change and transformation within urban environments? - Analyze passages Metabolism in Architecture and highlight design proposals that highlight the movement's vision for reshaping cities to accommodate evolving social, economic, and cultural needs. - Kurokawa speaks of the Characteristics of Japanese culture that are the most influential in the design thinking beneath the Metabolist movement. View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 < To Do Assignment Details . 5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #2: Metabolism ideology suggested a cyclical process of construction, destruction, and reconstruction. Kurowaka wrote: "This philosophy of continuity, characteristic of wood-based culture, is lacking in stone-based culture. Instead of using the material in such a way as to make full use of its natural characteristics, stone-based culture processes the material, and physically alters it... Furthermore, unlike wood-based culture, stone based culture opposes nature, its architecture uses walls to protect the interior from the exterior. According to this approach, architecture and nature are discontinuous. Human beings do not live with architecture for architecture is only a container for human beings. This aspect of the traditional stone-based culture is directly connected to modern rationalism and to functionalist architecture" (Kurokawa 1971, 34). Probe the ideas of change in architecture. Refer to and cite specific passages as you engage the discussion. - Explore passages from Metabolism in Architecture that examine the role of destruction, construction, and reconstruction in the evolutionary process of architecture. - Consider how this perspective challenges conventional notions of permanence, durability, or conservation. -Should architecture more naturally embody cyclical View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 . 5G 214 < To Do Assignment Details ARCH 3214-001: Hist & Thry of Architecture 2 wood-based culture, is lacking in stone-based culture. Instead of using the material in such a way as to make full use of its natural characteristics, stone-based culture processes the material, and physically alters it... Furthermore, unlike wood-based culture, stone based culture opposes nature, its architecture uses walls to protect the interior from the exterior. According to this approach, architecture and nature are discontinuous. Human beings do not live with architecture for architecture is only a container for human beings. This aspect of the traditional stone-based culture is directly connected to modern rationalism and to functionalist architecture" (Kurokawa 1971, 34). Probe the ideas of change in architecture. Refer to and cite specific passages as you engage the discussion. - Explore passages from Metabolism in Architecture that examine the role of destruction, construction, and reconstruction in the evolutionary process of architecture. - Consider how this perspective challenges conventional notions of permanence, durability, or conservation. Should architecture more naturally embody cyclical processes of impermanence? - Do you agree with Kurokawa's differentiation between wood-based and stone-based architecture cultures? View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications Inbox 9:28 < To Do Assignment Details .5G 214 ARCH 3214-001: Hist & Thry of Architecture 2 Prompt #3: Metabolism emerged during a period of rapid technological advancement. Kurokawa wrote "At the same time that the rapid economic development of Japan began, in 1960, the Metabolist group advocated the creation of a new relationship between humanity and technology. Thinking that the time would come when technology would develop autonomously to the point where it ruled human life, the group aimed at producing a system whereby man would maintain control over technology" (Kurokawa 1971, 31). Examine the words and ideas connected to the Metabolists attitudes and approach to technology. Refer to and cite specific passages as you engage the discussion. - Examine examples from Metabolism in Architecture that demonstrate how technology was harnessed to create flexible, adaptable structures capable of responding to changing societal needs and technological developments. - Discuss examples from Metabolism in Architecture that illustrate the movement's approach to designing buildings that could adapt and evolve over time, challenging traditional notions of permanence. -Should buildings be easily reconfigured, expanded, or altered as needed to more truly reflect the realities of natural systems? View Discussion 1 6 000 DOO Dashboard Calendar To Do Notifications InboxSee Answer
  • Q17: 3:16 5G 04 Section Views 704 6. Grade Beam Draw the Grade Beam foundation detail in Figure 26-40. Do not include the dimensions in your drawing. Use the Hatch command to hatch the concrete slab with AR-CONC hatch pattern. Use Sketch to draw the grade line and Hatch with the EARTH hatch pattern. Save the drawing as GRADBEAM. FIGURE 26-40 4 1-3" 45 87 7. Tool Palettes, Solid Fill A. Open the OFFICE-REV drawing that you last worked on in Chapter 21. Next, open the Tool Palettes. B. Make a new Layer and name it CARPET. Accept the default color, linetype, etc. Make CARPET the Current layer. C. Draw a Line across the doorway threshold of one of the two offices. Next, drag-and-drop a Solid pattern from the standard Hatches and Fills palette into the office. If problems occur, check to ensure that there are no gaps in the office walls. AA > 704 platform.virdocs.com REUSE AA = 3:16 705 Chapter 26 D. When the solid pattern appears in the office, notice that the pattern may cover the outlines of the walls and furniture items. Use the Draworder command to move the new hatch pattern to the Back. Your drawing should look similar to that in Figure 26-41. FIGURE 26-41 5G 04 == Q TT : Electri Mecha... Imperial Hatches Solid ISO Hatches E. Using the same technique, fill the other two office spaces with carpet from the tool palette or use another wood floor pattern such as HOUND. (Depending on the selected pattern, you may have to select Properties from the shortcut menu and change the Scale.) F. Use SaveAs to save and rename the drawing to OFFICE-REV-2. 8. Solid Fill, Fill Command A. Open the OFFICE-REV-2 drawing if not already open. Make a new Layer and assign the name WALLS. Accept the default color, linetype, etc. Make the WALLS layer Current. B. Use the Hatch and Gradient dialog box to apply the Solid hatch pattern to the walls of the office. C. Use the Fill command and turn Off the solid fill. Use the Regen command to apply the new Fill setting. Does Fill affect only the walls, or does it affect the other carpet solid fill patterns? D. Turn Fill On and Regen. Save the drawing. > 705 platform.virdocs.com Tool Palettes-All PalettesSee Answer
  • Q18: AEC132 Final Project AutoCAD Architectural Plans For your final project, you must complete a set of design documents in AutoCAD of a small commercial office building. The distinction between residential and commercial is that a residential structure is a home while a commercial structure is used for "business" purposes. A great example of a small, commercial office building is a fast-food restaurant. Your building must be at least as large as the typical size of a McDonalds (approximately 4,000 square feet). Your building does not have to be exactly 4,000 SF; I am simply using this example for a point of reference related to building size. Please review the attached sample plan sets provided in the respective Course Module. You may replicate one of these samples for your final project submission. Note: If you are replicating one of the sample plans, you MUST redraw it on your own. DO NOT export and/or copy PDF to CAD. At a minimum, you should include all the standards and methods which were included in the Exercises of your Residential Design Using AutoCAD textbook. This includes drawing standards for symbols, dimensions, layers, etc. Your final project must include the following elements completed in AutoCAD: 1. 60pts Architectural Floor Plan: Reference Chapter 4 - a. Walls (25 pts) b. Doors & Windows (10 pts) d. Kitchen and Bathroom Fixture "Blocks" (5 pts) e. Room Names & Labels (5 pts) f. Dimensions (15 pts) 2. 30pts - Front and Right Exterior Elevations: Reference Chapter 5 a. Orthographic Projection Accuracy (15 pts) • Walls & Roof (10pts) Windows & Doors (5pts) b. Hatching (5 pts) c. Labels & Dimensions (10 pts) 3. 10pts Construction Documents: Reference Chapters 9 & 10 a. Viewports & Sheet Setup (5 pts) Set up sheets manually, do not use Sheet Sets!!! Use ArchD titleblock, 24x36 sheet size Set Viewports to “standard” scale, either 1/4”=1'-0" or 1/8"=1'-0" b. Sheet Names & Numbers (2 pts) c. Plot to PDF (3 pts) Lineweights & Plot Style Please include all above drawings in DWG file(s). Your grade will be based on the thoroughness of information shown in the drawing files and the layers, standards, and methods used in your CAD file. Create PDF files for your printed sheets. SUBMIT BOTH DWG AND PDF FILES. DO NOT use xrefs or Sheet Sets for your Final Project! DO NOT export PDFs to CAD! Revised 5/22/2023See Answer

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