01
COMMUNICATIONS
Composing Landscapes: points, lines and grids
Semester 02, 2014
course leaders
Heike Rahmann
Edward Silveira
Alice Lewis
Ella Gauci -Seddon
Caitlin Perry
Out of class consultation hours will be held once a week for 2hr via appointment.
On Tuesdays 11am to 1.00pm. Student contact
Edward Silveira.
email [Link]@[Link]
Course outline
All pictorial form begins with the point that sets itself in motionThe point moves
and the line comes into being-the first dimension. If the line shifts to form a plane, we
obtain a two dimensional element. In the movement from plane to spaces, the clash of
planes give rise to body (three dimensional)A summary of the kinetic energies which
move the point into a line, the line into a plane, and the plane into a spatial dimension.
Paul Klee, The Thinking Eye: The Notebooks of Paul Klee (1961)
Composing Landscapes: points, lines and grids
As the first of three courses undertaken in the communications stream,
Communications 01 explores spatial composition through geometry and Cartesian
projection. Composition denotes a set of spatial relationships through which elements
are combined, proportioned and arranged to construct a coherent order. Geometry
emerges from the properties and relations between points and lines. Projection is a
method of spatial abstraction that enables the four-dimensional information (of the
landscape) to be registered onto a 2-dimensional plane (paper).
This course takes as its point of departure the historical desire to consider the designed
landscape as a controllable and ordered condition. Arguably, as designers, the drawing
conventions we use privilege particular understandings of compositional order and
patterns of information. The parterre as a formal landscape typology is testament
to landscape founded on pattern and symmetry. Yet inherent in this typology is the
tension that inevitably emerges when these abstracted geometric principles have to
negotiate the specificities of a particular landscape.
This tension forms the foundation for the Communications 01 project. This semesterlong project consists of three assignments and requires students to develop a
compositional strategy for a small site on one edge of Melbournes CBD grid. This
will initially emerge from the exploration of procedures that uncover underlying
geometries. Then the process of landing these abstracted propositions on the site
will require the tension that exists between the compositional ideals privileged by
orthographic drawing convention and the specificities of the site to be negotiated.
This course has three key lenses: geometry, abstraction and convention which all
courses in the Communications stream share:
Abstraction: Projecting onto the plane
This course material is situated within a Cartesian spatial paradigm. The act of
projecting requires a flattening and abstraction of information.
Geometry: Points, lines and grids
Principles of Euclidean geometry are explored with particular focus on the point, the
line and the grid. The process of Cartesian projection enables space to be framed
and understood as a series of coordinates or points which are then formalized and
connected through the line. The grid as an infinite organizational plane of points
and lines - operates as a universal unit of measure and as a device which enables
elements to be located in abstracted space.
Convention: Drawing (2D) and modeling (3D)
Plan, Section, detail, perspective, card models.
site: 8 hour monument site corner Russel and Victoria
assignment 01
Geometry, Order and Landscape
Complete submission Friday 15th August 3pm - 4pm @ 8.11.4
25%
WHAT
DELIVERABLES
01 pattern - due 28th of July
Select ONE of the following geometries:
square/rectangle, triangle or arc
1 x A3 folio containing the following:
01 pattern
* 1 x series of A3 drawings (analogue and
digital - min 12) that use at least 3 line weights
and black linework only (minimum 12)
Use this geometry to create, explore and develop a repeatable motif.
Use one or more of the following verbs to develop the pattern:
mirror, rotate, array, offset
You should use the same single geometry for all of your patterns. Generate a minimum
of 6 analogue patterns and 6 digital patterns. These should be a development of your
initial motif where hatching, lineweight, linetype and increasing intricacy demonstrate
an evolution.
02 precedent drawing and text - due 04th August
Select ONE of the following precedents
Palace of Versaille Gardens and Park (le Notre)
Thames Barrier Park (Alain Provost)
De Nieuwe Ooster (Karres en Brands)
Fountain Plaza (Dan Kiley)
Villa DEste, Tivoli (Pirro Ligorio)
02 precedent redrawing and text
* 1 x A3 analogue drawing/overlay using at
least 3 line weights, black ink only
* 1 x text printed on A4 - typed
03 site redrawing (points and lines)
* 1 x A3 drawing/overlay using at least 3 line
weights, black ink only
Each page must have your name on it
Using trace construct a (faint) grid over the original plan, consider the scale of the
units relative to the projects composition. Construct a plan drawing of the precedent
that uncovers/discovers the underlying compositional principle/s. Add in any existing
/underlying grids, key proportions and underlying geometries - how they overlap/
intersect etc. Use only lines, points and arcs.
Describe your understanding of the planometric composition through text (max. 300
words) address the relationship between repetition, proportion and geometry and
identify the compositional principle/s.
03 site/context - due 15th August
Redraw the Eight Hour Day Monument site and context using the google image on
blackboard to uncover/discover the existing grids, repetitions and hidden geometries.
Consider how they overlap and intersect. Use only lines, points and arcs.
WHY
We are exploring the use of geometry and the grid in landscape architecture as both
a construction device for drawing and a tool for ordering the landscape. Consider
the forces and material it negates, as well as the compositional coherence it creates
(consider music where pattern and repetition work similarly).
ASSESSMENT CRITERIA
* pattern is rigorously investigated and
developed through multiple drawings and
exploration of mark making techniques
* drawings are constructed with precision
drawing tools (rulers compasses etc) and
demonstrate a high level of care with control
over line weights
* drawings demonstrate an understanding of
geometry and the grid in the construction of
the landscape and the city
HOW
01 pattern
* establish a grid for each drawing at 5cm intervals, this should be lightly drawn in
pencil as the drawing develops, consider smaller increments of measure
* begin your patterns with pencil and work up with black drafting pens
* consider whether your pattern starts from the centre and radiates out or starts from
an edge and may change/evolve from one end of the page to the other
* photocopy your pattern and test various lineweights and hatches to shift the visual
hierarchy and use the verbs to develop the pattern further. Add detail to make your
patterns more intricate.
*note: each pattern should include some form repeatable motif generated from your selected
geometry in relationship to your original grid (ie: not just projected lines or offset grids).
02/03 precedent drawing and site/context drawing
* begin with pencil and work up with black drafting pens, consider using hatches
* as you draw, consider the structure of the geometrical elements, patterns and the
overall composition (axis, symmetry etc.)
precedent text
* describe only the planometric composition in your own words
* consider starting with overall then zooming in
* include the title, the designer and the date
* drawings demonstrates an exploration
of the relationship between geometry and
composition
* the text pieces present a considered
description of the planometric composition
of the precedent project
*************************************
please note drawings that are not A3, not in black
and white, use texta or solid fill and do not use at
least 3 line weights will automatically fail.
*************************************
assignment 02
Volume and Material
DUE Friday 19th September 3pm-4pm @ 8.11.04
50%
WHAT
DELIVERABLES
Using models and drawings develop your pattern into a compositional proposition
considering the three dimensions through volume and material taking into account
how your pattern meets the existing site conditions (topography, scale, site extents
and form etc). Construct an A0 landscape format panel that communicates the design
development and final outcome.
* draft panel must submitted in class for red line
in week 8
final submission:
1 x AO panel in landscape format, black and
white only that includes:
1 x CAD site plan at 1:100
1 x CAD longitudinal section elevation
at 1:100
1 x image of box board at site model
1 x set design development images
including study models and drawings
of pattern, precedent drawings, site +
pattern tests,
title of your project, your name and
short text describing the planometric
composition of your project
WHY
We are engaging with the conventions of the landscape architectural drawing set
assembled in a panel format. The panel is traditionally used for competitions and
presentations and is a mode that enables clear communication of the overall project
and its component parts. Its efficacy relies on clarity, readability and appeal (similar
to the role of a title and cover for a book/album etc). Consider the role of drawing and
modelling that negotiates the tension between the idealised/abstracted pattern and the
specificity of the site conditions.
HOW
study models
* choose one of the patterns from the last assignment and use one or more of the
following verbs to develop it volumetrically:
extrude
intrude
tilt
1 x box board site model at 1:100
Each image and drawing must be labelled. Your
model must include your name.
Sketch and construct a set (min 3) of study models using 1mm box board to test how
your pattern becomes volumetric
ASSESSMENT CRITERIA
site drawing and testing
* Draw the existing conditions of the site in CAD. You may wish to use the base plan
provided but note that you will need to go to site measure it and add relevant detail
and information (eg: bluestone edges, site topography, surrounding footpaths, kerbs,
gutters etc).
* test and develop your pattern on site through selecting one of the following
compositional principles: symmetry, rule of thirds or radial. Consider key axis,
orientation, scale, site extents and topography - minimum 6 tests (use CAD). Here
is where the abstracted pattern has to meet and negotiate the conditions of site. Your
tests should demonstrate a shift from an abstracted overlaid pattern, to a geometric
composition which directly consider the conditions of the site.
developed outcomes
choose from the following palette to materialise your pattern:
a medium tree (pencil pine, palm tree, espaliered pear)
a small shrub (ie. lavender, boxhedge, rosemary)
exterior grade timber (64 x19mm or 86x19mm)
bluestone paving (standard is 995 x 495 x 40mm)
turf
granitic sand
A0 panel
Materialise, develop and refine your composition in plan and section elevation (use
CAD) - use the panel template provided. Correctly scale your drawings, add carefully
photographed study models, your final model and the design development plan
drawings.
model
* construct model from box board of a 20m wedge that includes some site context
and has a 30mm base (this should not include any other material - just box board)
note: include people in your sections, plans and models
**there will be a compulsory red line session in week 8 (16th September). For this you must have
a draft of your in progress panel printed before class.
* panel is well composed and demonstrates
a development from abstracted pattern to a
spatial composition.
* panel includes all drawing/image
requirements and these have been carefully
constructed to communicate the project
* drawings demonstrate an understanding
of scale and are correctly labelled, use
appropriate line weights and hatches and are
appropriately detailed for the scale output
* models are well constructed (well cut and
assembled), are well photographed (using
appropriate lighting and are well composed)
* panel demonstrates design development of
the pattern (through models and drawings),
precedent research and testing on site
*************************************
Please note panels that are not A0 and landscape
format and not in black and white and drawings that
do not use at least 3 line weights will automatically
fail. Please cut down any oversized panel to the
correct dimensions (1189 x 841mm) and trim off the
educational version CAD watermark. Models
that do not use box board or that contain additional
materials will also automatically fail.
*************************************
Medival garden
Desvigne, Keio University
Desvigne, Keio University
assignment 03
Projection and Thickness
DUE Monday October 13th 1:30pm
exhibition hanging 2 - 2:30pm
plenary session 2:30 - 5:30pm
25%
WHAT
DELIVERABLES
Construct a plan, detail and one-point section perspective of your project as thick
drawings using a combination of line work and collage. These will be constucted
using CAD and Photoshop only.
1 x A3 drawing/collage
1 x plan (on A3 page)
1 x 1:10 detail (on A3 page)
1 x image of chosen precedent
1 x series of drafts of perspective (min 4)
1 x plenary session feedback (completed and
submitted in final class)
A thick drawing is an assemblage under which two main techniques are used:
1. montage (crop, arrange, layer, repeat, mirror, overlap, rescale)
2. effacement (adding/subtracting, transparency, eraser)
Choose from one of the following precedent images. Consider its composition, colour
palette, techniques etc and use these to base the construction of your own drawing on:
Palace of Versaille Gardens and Park
Walls of Change - Lebbeus Woods
Desvigne and Dalnoky
Superstudio
WHY
ASSESSMENT CRITERIA
We are engaging with thickness as a way to construct multiple readings. As well
as communicating the spatial, material and atmospheric qualities, consider how your
project is negotiating the tension between order (the grid, geometry) and the conditions
of the landscape, the city. Consider how the composition of your perspective operates
in relation to the compositional strategies you have used to generate your project in
plan and section.
You will be assessed on the level to which:
* the drawing demonstrates an engagement
with the chosen precedents as evidenced
through techniques, tools, colour palette
* the drawing demonstrates an understanding
of perspectival convention and control over
composition (including scale of the elements)
HOW
plan and detail
* Refine the composition of your proposition in plan and amend your drawing as
required in CAD. Select a key 1m area/detail of your site and scale and scale to 1:10.
At this scale you will need to add more detail. This will take time and should be an
exquisite drawing (as per your first project in Foundation last semester).
* Take into photoshop and use textures and images to materialise key elements/areas
of both your site plan and detail. Consider how this effects the communication of your
composition. Use your chosen precedent image to control the colour palette and offer
techniques.
one-point perspective
* In CAD use the section you generated in the last assignment and further develop/
refine as required. Use construction lines to project into a one point perspective,
consider the view you are making for your audience (ie: placement of the horizon line
and vanishing point).
* the drawing demonstrates competency
and technical control in photoshop, and
communicates the spatial, material and
atmospheric qualities of the project
* the drawing communicates an engagement
with the tension between order (the grid,
geometry) and the specific conditions of the
site
* the drawing explores the notion of
thickness and refines various techniques
through multiple outputs (note: not just turning
layers on and off in photoshop)
* plenary session feedback demonstrates
ability to read and articulate drawings
* Import your line drawing into photoshop , choose a limited colour palette and a
limited range of tools/techniques based on your precedent.
* consider thickening the drawing by combining with other drawings you have
made over the semester both analogue and digital
*************************************
notes:
* do not use photoshop filters
* consider resolution of images to avoid any pixelation
* print out drafts of ongoing process and trials and sketches
please note drawings that are not A3 and do not use
at least 3 line weights, use inappropriate filters,
contain pixelation will automatically fail
*************************************
Lebbeus Woods, Walls of Change
Desvigne and Dalnoky
A perspective or Versailles
Schedule
Date
Wk 1
Jul-21
Lecture
Composing Landscapes: points,
lines and grids
Delivered by
Tutorial
Edward Silveira
Workshop: hand drawing and
pattern generation (pencil)
**rm 8.11.46+47+51
Wk 2
Jul-28
Order, Geometry and the
Landscape
Edward Silveira
Workshop: Hand drawing 2
(pen)
**rm 8.11.46+47+51
Wk 3
Aug-04
The Line and projection
TBC
Labs: CAD 1
Wk 4
Aug-11
The Construction Line grids, planes Susan Massey
and patterns
(fri)
Aug-15
Assignment 1 due 3-4pm LA Admin office 8.11.04
Wk 5
Aug-18
Volume and Material I extrude, tilt, TBC
intrude
Workshop: model making
**rm 8.11.46+47+51 (rooms tbc)
Wk 6
Aug-25
Volume and Material II negotiating Alice Lewis
the idealised and the (site) specific
Labs: CAD 3
Labs: CAD 2
Mid semester break 1-8th september
Wk 7
Midsemester studio presentations - no class
Wk 8
Sep-15
Translation: page to audience , the
role of the panel and the agency of
layout
TBC
Labs:CAD 4
(fri)
Sep-19
Assignment 2 due 3-4pm LA Admin office 8.11.04
Wk 9
Sep-22
Projection and Thickness
Wk 10
Sep-29
no lecture
Labs: Photoshop 2
Wk 11
Oct-06
no lecture
Labs: Photoshop 3 +
Indesign
Wk 12
Assignment 3 due (oct 13) 1:30pm pin up, presentations start at 2pm(in class)- pop-up exhibition +
plenary
Caitlin Perry
Labs: CAD 5 +
Photoshop 1
Bibliography
(2009) Intermediate Natures: The Landscapes of
Michel Desvigne, Birkhauser, Berlin
(1997) Desvigne and Dalnoky: the return of the
landscape, Watson-Guptill, New York
Allen, S. (2009) Practice: Architecture Technique
+ Representation, Routledge, Abingdon
Bryrne, O. Elements of Euclid, Taschen
Corner, J (1992) Representation and Landscape
in Swaffield, S (ed) Theory in Landscape
Architecture, University of Pennsylvania
Press, Philadelphia
Corner, J. (1996 ) Taking Measures Across the
American Landscape, Yale University Press,
New Haven
Gleiniger, A. and Vrachliotis, G. Eds. (2009)
Pattern: Ornament, Structure and Behaviour,
Birkhauser, Berlin
Olonetzky, N. (2007 ) Sensations: A time travel
though garden history, Birkhauser, Berlin
Padovan, R. (1999) Proportion, Routledge,
USA
Saule, B. (2002) Versaille Gardens, Vendome
Press, New York
Cousins,Charles Patrick
D'Costa,Stephanie Teresa
Denson,Scott Thomas
Forge,David William
French,Kieran
Garrett,Amy Maree
Geng,Hao
Grove,James Lewis
Morgan,Matthew Ross
Nguyen,Dianne
Nguyen,Ryan Vu
Nguyen,Tung Ngoc
Zhai,Qingyun
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Walsh,Brigitte Catherine
Vary,Challana Alice
Sheedy-Reinhard,Nellie Clare
Ramazani-Jolfaei,Shabnam Tara
Pratley,Karl Philip
Prastalo,Phillip
Pike,Rebecca Jayne
Hendricks,Nazreen
Hawkins,Rosina Rockliff
Harty,William John
Hannah,Daniel Erin
Gu,Zhuocheng
Cherny,Naomi Deborah Esther
Chen,Xijie
Chen,Edwyn Dennis
Carroll,Georgia Louise
Campbell,Kate Eleanor
Name
Name
Aldous,Georgia Stephanie
Student#
3431181
Tutor Caitlen Perry
Tutor: Alice Lewis
TBC
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Molent,Alexander Stirling
Meaden,Matthew Samuel
McKenzie,Keith Duncan
McHugh,Samuel James
McCracken,Kate Eloise
Luo,Sen
Pham,Michael
Parrant,Adrian Sheldon
Panuan,Naome
Paigan,Ayesha
Nolan,Daniel Andrew
Flugge,Thomas Samuel
Fairweather,Kristel Ann
Edwards,Christopher Luke
Dubinski,Natalie Monica
Distel,Nathan Peter
Jung,Moonyoung
Hyde,Christopher James
Horomidis,Sophia
Holmes,Monique Kiara
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