COMMUNICATIONS 01Composing Landscapes: points, lines and grids

Semester 02, 2014

course leadersHeike Rahmann

Edward SilveiraAlice Lewis

Ella Gauci -SeddonCaitlin Perry

Out of class consultation hours will be held once a week for 2hr via appointment. On Tuesdays 11am to 1.00pm. Student contact

Edward Silveira. email edward.silveira@rmit.edu.au

Composing Landscapes: points, lines and gridsAs the fi rst 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 specifi cities of a particular landscape.

This tension forms the foundation for the Communications 01 project. This semester-long project consists of three assignments and requires students to develop a compositional strategy for a small site on one edge of Melbourne’s 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 specifi cities 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 fl attening and abstraction of information.

Geometry: Points, lines and gridsPrinciples 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 infi nite 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.

‘All pictorial form begins with the point that sets itself in motion…The point moves…and the line comes into being-the fi rst 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)

Course outline

site: 8 hour monument site corner Russel and Victoria

assignment 01

Geometry, Order and LandscapeComplete submission Friday 15th August 3pm - 4pm @ 8.11.425%

WHAT01 pattern - due 28th of JulySelect ONE of the following geometries:• square/rectangle, triangle or arc

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 AugustSelect 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 D’Este, Tivoli (Pirro Ligorio)

Using trace construct a (faint) grid over the original plan, consider the scale of the units relative to the project’s 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 AugustRedraw 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.

WHYWe 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).

HOW01 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

DELIVERABLES1 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)

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

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

* 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

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please note drawings that are not A3, not in black and white, use texta or solid fi ll and do not use at least 3 line weights will automatically fail.

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assignment 02

Volume and MaterialDUE Friday 19th September 3pm-4pm @ 8.11.0450%

WHATUsing 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 fi nal outcome.

WHYWe 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 effi cacy 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 specifi city of the site conditions.

HOWstudy models* choose one of the patterns from the last assignment and use one or more of the following verbs to develop it volumetrically: • extrude• intrude• tilt

Sketch and construct a set (min 3) of study models using 1mm box board to test how your pattern becomes volumetric

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 outcomeschoose 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 panelMaterialise, develop and refi ne your composition in plan and section elevation (use CAD) - use the panel template provided. Correctly scale your drawings, add carefully photographed study models, your fi nal 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.

DELIVERABLES* draft panel must submitted in class for red line in week 8 fi nal 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

1 x box board site model at 1:100

Each image and drawing must be labelled. Your model must include your name.

ASSESSMENT CRITERIA* 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 areappropriately 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.

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assignment 03

Projection and ThicknessDUE Monday October 13th 1:30pm exhibition hanging 2 - 2:30pmplenary session 2:30 - 5:30pm25%

WHATConstruct 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.

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

WHYWe 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.

HOWplan and detail* Refi ne 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 fi rst 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/refi ne 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).

* 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 fi lters* consider resolution of images to avoid any pixelation* print out drafts of ongoing process and trials and sketches

DELIVERABLES1 x A3 drawing/collage1 x plan (on A3 page)1 x 1:10 detail (on A3 page)1 x image of chosen precedent1 x series of drafts of perspective (min 4)1 x plenary session feedback (completed and submitted in fi nal class)

ASSESSMENT CRITERIAYou 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)

* 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 specifi c conditions of the site

* the drawing explores the notion of ‘thickness’ and refi nes 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

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please note drawings that are not A3 and do not use at least 3 line weights, use inappropriate ‘fi lters’, contain pixelation will automatically fail

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Schedule

Date Lecture Delivered by Tutorial

Wk 1 Jul-21 Composing Landscapes: points, lines and grids 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 and patterns

Susan Massey Labs: CAD 2

(fri) Aug-15 Assignment 1 due 3-4pm LA Admin offi ce 8.11.04

Wk 5 Aug-18 Volume and Material I extrude, tilt, intrude

TBC Workshop: model making**rm 8.11.46+47+51 (rooms tbc)

Wk 6 Aug-25 Volume and Material II negotiating the idealised and the (site) specifi c

Alice Lewis Labs: CAD 3

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 offi ce 8.11.04

Wk 9 Sep-22 Projection and Thickness Caitlin Perry Labs: CAD 5 +Photoshop 1

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

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 Swaffi eld, 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

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