arch 160 CONTENT & OBJECTIVEScontent-calpoly-edu.s3.amazonaws.com/architecture/1/programs/...One ad...

arch 160fre

eb

y

Course ContentThe course is designed to introduce digital tool components to those students taking the fi rst year Arch 121, 122, 123 studio series. Course assignments develop the student’s understanding and skills associated with 3D modeling (Form-Z), image editing (Photo-shop), and page layout (InDesign) applica-tions.

Instructor Informationbrent freebyoffi ce 21-125 MWF 12-1pm [email protected]

Learning SoftwareThere are two parts of learn ing any piece of software. One ad dress es the specifi c steps need ed to per form an operation to achieve a specifi c end. The second is concerned with un der stand ing the con cepts and prin-ciples that underlay a program's interface and tools. The fi rst solves one prob lem. The second provides the insight needed to solve new problems. Let the instructor know if either is miss ing at any time.

The student’s goal should be to learn some-thing meaningful from each as sign ment and stretch the minimum requirements. One of the great rewards of doing quality work is that qual i ty al ways feels good, and the greater the qual i ty, the longer the good feel-ing lasts.

Part of your learning can come from help-ing others. Anytime you teach someone else some thing you clarify and strengthen your personal un der stand ing. When you help someone include both what and why. "What" pro vides the spe cifi c solution. "Why" builds conceptual un der stand ing so that a problem can be solved in an oth er context.

CONTENT & OBJECTIVES

Architecture 160Digital Tools for Architecture

A substantive introduction to the use of digital tools in architectural design and visual communication in the areas of 3D modeling, image editing, 2D drawing and page layout.

arch 160fre

eb

y

Learning ObjectivesTo enable the student to un der stand and apply the un der ly ing principles, concepts and methods that gov ern the effective use of the digital tools.

The student completing this component will be aware of and be able to use the pro-gram interface and the range of tools and functions available to sup port architectural design and presentation processes; specifi -cally:

3D Modeling: Form-ZLayers, planes and views for organizing, cre-ating, editing, and communicating models and their enclosed spaces.

Basic primitives forms and their transforma-tion by manipulating their points, segments, holes and faces and/or inserting points, seg-ments, shapes and holes through use of the move, copy, rotate, scale, array and other modifi cation tools.

Complex and organic form creation, includ-ing accurate (using underlays) site models using derivative, boolean, sweep, revolve, skin and c-mesh tools.

Representation of space and material using realistic architectural surface styles and the proper placement and level of lighting, both natural and artifi cial.

Rendering and exporting views and anima-tions in a va ri ety formats.

Image Editing: PhotoshopThe scanning process and its variables relat-ed to im age quality, resolution and fi le size.

Post-scan adjustment, sizing, transformation and repair using a variety of techniques and tools including levels, fi lters, cloning, and im-age and canvas sizing.

The role of layers, channels, layer masks, clip-ping groups, and alpha channels in creating and ed it ing fi les.

Im age mode and adjustment of high light, shadow and midrange values.

Sharpening and/or sizing an im age with and without interpolation or major dilution of its original data.

Defi ne, save, load and manipulate selec-tions and paths using a variety of selection tools and techniques.

Develop architectural drawings using a va-riety of Photoshop tools, fi lters, collage and combinations to create the illusion of form, light and depth.

Page Layout: InDesignSpecify the qualities of text that can be specifi ed, including text styles specifying font, size, leading, kerning, color, etc.

Use of guidelines, grids, layers and styles in creating and editing objects and layouts.

Defi ne pages and their organization and defi ne and assign master pages.

Draw open and closed paths, control their stroke and fi ll and manipulate them.

Defi ne, save and apply layers and colors.

Attach text to paths and convert text to graphics.

Import graphics and images from other pro-grams and compose and execute page lay-outs composed of text, images and graphic elements.

Set and manipulate the number, location and size of pages.

Print larger presentations using the tile func-tion.

Required TextBenedict, William R. & Freeby, Brent J. 2004.

Digital Tools For Architecture, El Corral Publication.

Recommended BookKhemlani, Lachmi 2003. Into 3D with Form•Z,

McGraw-Hill Professional Publication.

arch 160fre

eb

y

Evaluation Course grades will be based on the av er age of a student’s weekly grades. Weekly grades are based on At ten dance and Weekly As- sign ments.

Weekly AssignmentsWeekly assignments MUST BE ON TIME to be evaluated. Assignment submission includes both digital and analog components.

On TimeWeekly Assignments are due at the BEGIN-NING of the class period on the assigned date. Both prints and digital fi les must be hand ed in for an assignment to be on time. Digital fi les must be placed in the appropri-ate drop box on the server.

In the event of a printer malfunction, prints must be submitted within one week for the assignment due date to be on time.

Late assignments will not be accepted.

Both digital and design portions of your weekly assignment are eval u at ed on a ten point scale:

10: Excellent understanding or design;9: Emerging excellence;8: Good understanding or design;7: Emerging understanding or design;6: Minimum acceptable use or design;5: Unacceptable understanding or design;0: Missing or incomplete work.

DigitalThe digital portion of your weekly grade evaluates your use of the software. It consti-tutes 60% of your weekly grade.

Digital understanding is communicated by the correct and effi cient use of program ca-pabilities as demonstrated by such things as:File naming and organization.Meeting digital program use requirements.Correct and appropriate use of tools for pre-cision and desired outcome.Shape, fi t and connection of parts.Absence of unused or unintended elements.

DesignThe design portion of your weekly grade evaluates the design quality of your solutions. It constitutes 20% of your weekly grade.

Weekly assignments have design goals and pro vide opportunities to make qual i ta tive de ci sions. Good design is represented by:Addressing design goals,Creating relationships of pattern, hierarchy, contrast and balance be tween el e ments,Clear, developed, and well executed design concept/theme,Creativity of response to the problem.

Final Grade ScaleThe average of your weekly grades will trans-late into a letter grade for the course based on the fol low ing scale.

9.5 to 10 A9 A-8.5 B+8 B7.5 C+7 C6.5 C-6 C5 D0 to 5 F

Final Grade AdjustmentYour fi nal grade may be adjusted based on your participation in class and growth over the quarter as defi ned below.

Contributions to positive class atmosphere.

Helped class mates.

Improvement in your understanding and use of the software.

Improvement in the quality of your designs.

Consistently challenged your capabilities.

arch 160fre

eb

y

ARCH Servers

You will be using the ARCH 01 & 02 servers to access class fi les, save your work and submit your fi n ished as sign ments.

Accessing FilesThere will be fi les provided for in-class ex er -cis es. These can be accessed as shown in class.

Always copy fi les to your local computer be-fore opening. Never work on a fi le directly off the server. NEVER EVER work on a fi le directly off a Zip disk, CD, or fl ash drive.

Saving Work on the ARCH ServerEach student is allotted space on the server to save work.

Create a new folder and name it the same as your Cal Poly alias (e.g., bfreeby). Re-member that the server is not ultimately secure and should be treated as such.

Submitting Digital As sign mentsThere is a Drop folder for each class section under your instructor’s last name.

1: Complete the as sign ment by creating the re quired fi les and folders as specifi ed in the pro ject state ment.

2: Drag the completed folder and/or fi le for the as sign ment to the Drop folder for your instructor.

arch 160fre

eb

y

IntroductionScan an architectural image in Grayscale

at resolutions of 75, 150 and 300 spi and name the fi les by their resolution preced-ed by a short fi le name (e.g., gehry75).

The image may not be larger than 6" or small er than 3" in any dimension.

All scans/fi les must be saved in Photoshop for mat.

Print the three raw scans.

1 Compare and contrast the quality of the prints of the three base images.

After you've done this, proceed to the fol-lowing test exercises:

Save a copy of the 75 spi scan and add "150" to the name of the fi le (e.g., gehry75150).

Upsample the fi le to 150 spi while keeping di men sions constant.

Save a copy of the 300 spi scan and add "150" to the name of the fi le (e.g., gehry300150).

Downsample the fi le to 150 spi while keeping di men sions con stant.

Save a copy of the best 150 spi and name it "Levels" preceded by your fi le name (e.g., gehryLevels).

Create a Levels Adjustment Layer and adjust the im ag es's values.

Sharpen the image using Unsharp Mask.

Print all 150 spi images.

After you have completed the test exercises and made the required prints then ad-dress the following:

2 Compare and contrast the quality of the prints of the four 150 spi images.

3 Make recommendations based on your com par i sons as to the best combination of resolution, fi le size and image quality.

When you have completed these require-ments word process your comparisons and ob ser va tions.

SubmittalPlace all digital fi les in a fold er named"_Scan" pre ced ed by your Cal Poly alias (e.g., bfreeby_Scan). Drop the folder in ap-propriate Drop folder on the ARCH_Faculty server.

NOTE: Ensure that work is submitted in the correct folder for your instructor and class. If homework is placed in the wrong folder it will not be graded.

Neatly letter your name on the fi rst print and the ex er cise eval u a tion form. Staple and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due no later than 1:00 PM on Tuesday of Week 2.

PHOTOSHOP 1: SCAN & ADJUST

This investigation is an opportunity to un der stand the relationships between resolution, fi le size and quality of a scanned image.

arch 160fre

eb

y

1: SCAN & ADJUST EVALUATION

Name:Eval u a tion is based on the standard project grad ing criteria de scribed in the syl la bus with the fol low ing spe cifi c issues emphasized.

Digital/Craft❑ ❑ ❑ Observations are word processed,

❑ ❑ ❑ The original image is of high qual-ity, meets requirements, has well de fi ned sloping edges and a full value range.

❑ ❑ ❑ Quality of the prints and lettering on prints.

❑ ❑ ❑ All scans/fi les saved in Photoshop format and named and organized as spec i fi ed.

❑ ❑ ❑ All adjustments done as specifi ed.

❑ ❑ ❑ Levels adjustment done with an Ad just ment layer.

Digital/Craft Grade

Design/Understanding❑ ❑ ❑ Prints of raw scans compared.

❑ ❑ ❑ Prints of 150 spi fi les compared.

❑ ❑ ❑ Recommendations made.

❑ ❑ ❑ Observations are thoughtful, clear, com plete and in di cate un der -stand ing.

Design/Understanding Grade

arch 160fre

eb

y

IntroductionOpen a rendered image (rendered at

150ppi) or scan a hand drawing (at 150spi) and save the fi le as a photoshop document; name_surface.psd (e.g., bfreeby_surface.psd).

For a hand drawn original, follow the pro-cess described under Surface Rendering Process in the syllabus using techniques demonstrated in class.

For a rendered image, a similar process ap-plies, with variances as demonstrated in class.

Create layers and set their Modes, locks and links as appropriate.

Create a text layer with your name.

Make, save and name a minimum of six (6) se lec tions.

Create a value layer to add values to a black and white sketch and/or add high-lights, depth, and other surface adjust-ments to a rendering.

Create a color layer that uses multiple lay-ers of different col ors. Use fi lls, gradations and large paint brushes with any colors except black and white to create vari-gated hues and enhance values and realism.

Create a texture layer that adds surface character to important elements. Use

fi lters, fi lls and layer modes to enhance realism and important elements.

Design GoalsCreate layers that change values consistent-

ly and clearly with a change of orienta-tion rel a tive to the light source.

Create values that range from very light to very dark.

Make value color, and texture choices that communicate a clear mood or ex pres -sion.

SubmittalPlease read the evaluation sheet prior to

submitting your work.

Drop the fi le (e.g., bfreeby_Surface.psd) in the ap pro pri ate drop fold er on the ARCH_Faculty server.

Print the fi le in color. Neatly letter your name on the ex er cise eval u a tion form. Staple the print with the eval u a tion form in front and place them in your in struc tor's homework box in 05-308.


PHOTOSHOP 2: SURFACES

This exercise and the subsequent one will explore the potential of digitally enhanc-ing renderings or hand drawn images.

arch 160fre

eb

y

2: SURFACES EVALUATION


Digital❑ ❑ ❑ File named correctly, used Photo-

shop format and is at 150 dpi.

❑ ❑ ❑ Layers correctly named and ordered with appropriate modes specifi ed.

❑ ❑ ❑ A minimum of 6 channels are saved, named and based on ap-propriate se lec tions.

❑ ❑ ❑ Layers contain only appropriate content (e.g., Values layer con-tains only values).

❑ ❑ ❑ Values add to and enhance the image light and depth.

❑ ❑ ❑ Textures created properly and fur-ther defi ne elements.

❑ ❑ ❑ All surfaces on the Color layer ex-hibit a mixture of hues.

❑ ❑ ❑ Text layer contains your name. The font size is appropriate to the scale of the image.

Digital Grade

Design: Judged by the print.❑ ❑ ❑ Values shown on the plane

change consistently and clearly as the plane's orientation alters rel a tive to the light source.

❑ ❑ ❑ Overall range of values extends from very light to very dark.

❑ ❑ ❑ The rendering communicates a clear mood or ex pres sion through value and color choices.

Design Grade

arch 160fre

eb

y

IntroductionSave a copy of the fi le you created for the

last ex er cise (e.g., bfreeby_surfaces.psd) and rename it name_en tou rage.psd (e.g., bfreeby_entourage.psd).

Create a Layer Set and name it "Architec-ture". It should contain all layers from the previous assignment.

Create a Layer Set and name it "Fore-ground". It should be above the Archi-tecture set and contain the entourage elements that appear in front.

Create a Layer Set, name it "Background". Place it be below the Architecture set and include the entourage elements that appear behind the architecture.

Add/move the entourage elements and place them in their appropriate sets. Scale, position, shade and develop shad-ows for the entourage elements.

Entourage may be rendered hand drawn items or appropriate images.

Create a layer named Sky and render it as ap pro pri ate.

Create a text layer with your name.

Create layers as required to place a mini-mum of two single or two groups of people within the ar chi tec tur al spaces. Create additional layers and place a minimum of two trees or two groups of trees within the architectural spaces.

A minimum of one entourage element must be placed behind an architectural element using a layer mask to hide the covered portion.

Design GoalsThe entourage elements should follow the

rules of linear perspective in terms of lo-cation and size.

The placement, scaling, coloring, shad-ing and shadow creation for en tou rage el e ments should en hance the sense of spatial depth and form, including fore-ground, middleground, and background layers of space.

The entourage elements should enhance the mood or expression of the drawing.

SubmittalDrop the fi nished fi le in the ap pro pri ate drop

fold er on the ARCH_Faculty server.

Print the fi le in color. Neatly letter your name on the eval u a tion form. Staple the print to the eval u a tion form and place them in your in struc tor's home work box in 05-308.


PHOTOSHOP 3: ENTOURAGE

arch 160fre

eb

y

3: ENTOURAGE EVALUATION




❑ ❑ ❑ Layers named, linked and ordered with appropriate modes specifi ed.

❑ ❑ ❑ Required Layer Sets (Foreground, Ar chi tec ture, Background) are created, ordered and contain ap-propriate layers.

❑ ❑ ❑ Layers contain only appropriate/in tend ed con tent.

❑ ❑ ❑ A minimum of two trees or two groups of trees are within the ar-chitectural spaces.

❑ ❑ ❑ A minimum of two single or two groups of people are within the ar chi tec tur al spaces.

❑ ❑ ❑ A minimum of one entourage element is placed behind an ar-chitectural element using a layer mask to hide the covered portion.

❑ ❑ ❑ Entourage elements are appro-priately prepared, scaled, posi-tioned, shaded and have shad-ows.

❑ ❑ ❑ Text layer contains your name.

Digital Grade

Design: Judged by the print.❑ ❑ ❑ Entourage elements follow the

rules of linear per spec tive in terms of location and size.

❑ ❑ ❑ Entourage elements reinforce and en hance the il lu sion of spatial depth through color, shading, size, overlap and the development of foreground, middleground and background spatial zones.

❑ ❑ ❑ The entourage elements enhance the mood and ex pres sion of the image.

Design Grade

arch 160fre

eb

y

IntroductionCreate a fi le, name_collage.psd.

(e.g., bfreeby_collage.psd)

The fi nal collage must measure 6" high by 9" wide at a resolution of 150 dpi.

You must research, scan and use a minimum of 5 images from a noteworthy architect. Images can come from any high quality source and may be arranged and ma-nipulated as you see fi t.

You must use one or more Clipping Groups.

You must use one or more Layer Styles.

The collage must include a border or frame that mea sures 1/4 to 1" wide.

The collage must feature some type of text citing your name, the architect’s name, and the course name.

Each text item must be on its own layer. At least one text layer must be rasterized.

You may use any other graphic or texture you develop and/or photograph to complement the design.

You may use Adjustment Layers and Layer Masks.

SubmittalDrop the fi le in the ap pro pri ate drop fold er

on the ARCH_Faculty server.

Print the sheet and neatly letter your name on the ex er cise eval u a tion form. Staple the print to the eval u a tion form and place them in your in struc tor's home work box in 05-308.


PHOTOSHOP 4: ARCHITECTURE COLLAGE

In this exercise you will design and cre-ate a custom collage, encompassing a strong sense of three-dimensionality, weight, balance and motion.

arch 160fre

eb

y

4: COLLAGE EVALUATION




❑ ❑ ❑ Overall collage size and border/frame width as specifi ed.

❑ ❑ ❑ Text was on separate text layers as appropriate.

❑ ❑ ❑ At least one text layer was raster-ized.

❑ ❑ ❑ Minimum of 5 architect of choice images were used.

❑ ❑ ❑ All Layers renamed and ordered with appropriate modes specifi ed.

❑ ❑ ❑ Clipping Groups used and cor-rectly created.

❑ ❑ ❑ Layer Styles used and correctly created and specifi ed.

Digital Grade

Design: Judged by the print.❑ ❑ ❑ The required text was legible.

❑ ❑ ❑ Your fi rst name is more visually im- por tant that your last name.

❑ ❑ ❑ Creativity and visual impact of the de sign.

❑ ❑ ❑ Three-dimensionality, weight, bal-ance and motion created as part of the design.

Design Grade

arch 160fre

eb

y

PHOTOSHOP 5: RESUBMITTAL

The fi nal exercise will be a resubmittal of one of the four previous exercises. This provides an opportunity to improve a low score, complete a missed assignment and demonstrate improvement.

EvaluationThe requirements, goals and evaluation cri-

teria of the original assignment will be used to evaluate the resubmittal. The original exercise evaluation sheet MUST ac com pa ny the resubmittal or it will not be eval u at ed.

Resubmittals will be evaluated in terms of overall exercise improvement—not just improvement of specifi c items.

A resubmittal will be evaluated more rigor-ously than the original submittal because it should refl ect greater understanding.

Resubmittal Options1: No Resubmittal. If you choose not to re-

submit an exercise, the lowest grade you received on the previous four exercises will be used as your grade for the fi nal exercise.

2: Resubmittal and Improvemen. If you choose to resubmit and the evaluation results in a higher grade, the new grade will be used for the original assignment and the resubmittal as sign ment.

3: Resubmittal and No Improvement. If you choose to resubmit an exercise and the evaluation results in a lower grade than the original, the new grade will only be used for the resubmittal grade and will not replace the grade originally received for the assignment.

SubmittalCreate a folder name_resubmit (e.g., bfree-

by_resubmit). Place the folders and/or fi les originally required for the exercise that you are resubmitting in this folder. Make sure that fi le names and organiza-tion meet the requirements of the original exercise.

Drop the resubmittal folder in the ap pro -pri ate drop fold er on the ARCH_Faculty server.

Make prints as required in the original exer-cise. Neatly letter your name on the fi rst sheet and the ex er cise eval u a tion form. Staple the print(s) to the eval u a tion form and place them in your in struc tor's homework box in 05-308.

NOTE: The original exercise eval u a tion sheet MUST ac com pa ny the resubmittal or it will NOT be eval u at ed.


arch 160fre

eb

y

arch 160fre

eb

y

RequirementsCreate a three-dimensional composition of

elements.

All objects must stay within a 32' cubic enve-lope that sits on the World XY plane and is centered on the Z axis.

All objects must be oriented either vertically or horizontally and must be orthogonal. (No spheres, cones, etc.)

All objects must be solid objects.

All objects must be constructed, modifi ed and moved with the one foot grid snap turned on.

The composition must include a minimum of twenty elements.

The composition must include a minimum of six lin eal (i.e. column shaped) and six planar (i.e. wall shaped)objects.

All objects must be touching one an oth er. Objects or groups of objects may not be detached from the whole.

Design GoalsThere should be visual holes completely

through the composition when it is seen from the required views.

The composition should look signifi cantly dif-ferent in respective views.

The composition should contain space(s) that are as sig nifi cant as the objects.

The plane on which elements were built should not be obvious in the fi nal compo-sition.

All surfaces of the 32' cube of space should be im plied by the placement of the el e -ments of the composition.

ProcessThe following describes the process and de-

tailed re quire ments for creating the XYZ composition.

Surface Styles

One existing surface style must be renamed as 'Struc ture' and its attributes reset to: Hue 0, Saturation 0, Brightness 100. Apply this style ap plied to all built elements.

All objects will turn white at this point and be very hard to see. To remedy this situ-ation, hold down the Option key and choose Display > Wireframe. When the wireframe options appear, deselect the “Show Color” box. Click OK.

Delete all other color styles from the Sur face Styles palette.

SiteTemporarily set grid snap to 8’-0”.

Model a 16' cube with the 3D Ex tru sion Tool on the XY plane, cen tered on the Z axis.

FORM-Z 1: XYZ COMPOSITION

This exercise is an investigation into the basic tools of 3D composition.

arch 160fre

eb

y

Choose the Extend Plane Grid tool form the Window Tools palette.

Hold down the Shift key and click anywhere in the white space of the window. The active grid will shrink to fi t the model with a slight surround buffer. This will work regardless of how many objects are in the fi le. (The grid does not need to be present in order to model objects. The XY plane is infi nite, although not shown.)

Click in the Planes palette to save the plane and name it Site. Delete the 16' cube. The plane you created is 32’ square and will be the base area for the composition.

ViewsCreate a new layer named 32' Cube. Make

this the active layer. Model a 32' cube to represent the building envelope.

Choose Views > Axonometric (A), then Views > 30/60 (Command + 1). Click on Fit in the Window Tools palette (F). Click in the Views palette and name it 30/60.

Choose Views > Top (Command + 6). Click on Fit in the Window Tools palette (F). Click in the Views palette and name it Plan.

Choose Views > Front.Click on Fit in the Window Tools palette. Click in the Views palette and name it South Elev.

Choose Views > Right Side.Click on Fit in the Window Tools palette. Click in the Views palette and name it East Elev.

Choose View > Perspective.

Click in the Views palette to create a new view. Name the view South.

Double click on the view and enter the fol-lowing parameters.Eye Point: 0’, -50’, 16’Center Of Interest: 0’, 0’, 16’Angle: 60

Hold the Option key and click within the Views pal ette or click the top bar to open the Views dialog box.

Highlight the South view and choose Copy three times.

Highlight the fi rst copy and double click or choose Edit.Name: EastChange Eye Point: 50’, 0’, 16’

Highlight the second copy and chose Edit.Name: NorthChange Eye Point: 0’, 50’, 16’

Highlight the third copy and chose Edit.Name: WestChange Eye Point: -50’, 0’, 16’

Click OK to complete the process.

LightsDouble click on the default light (e.g., Sun).

Rename the light Southwest.Set the Simple Intensity to 150%.Location: -40’, -80’, 120’Center Of Interest: 0’, 0’, 0’,Turn off shadows.

Hold the Option key and click within the Lights pal ette or click in the top bar to open the Lights dialog box.

Delete any lights other than the one you just re de fi ned.

Select the light named Southwest and dupli-cate it three times.

Highlight the fi rst copy and choose Edit.Name: SoutheastChange Location: 80’, -40’, 120’

Highlight the second copy and choose Edit.Name: NortheastChange Location: 40’, 80’, 120’

Highlight the third copy and choose Edit.Name: NorthwestChange Location: -80’, 40’, 120’

Click OK to complete the process. You have now saved all the required lights.

Note: The black dot is the light switch. Re-gardless of whether or not the light (dot, line, and arrow) are visible (toggled with the black diamond), the light is on and shining if there is a black dot next to its name. Each view will have ONE light that will give the best illumination of the com-position. You will have to cycle through the lights one at a time for each view to test which light gives the best effect.

arch 160fre

eb

y

Composition ConstructionGhost the 32’ Cube layer by clicking the

black diamond one time (it will not print if ghosted). Create a new layer, named Composition, and make it active. Pro-ceed with building and moving objects as follows:

Construct an object.

Move the object horizontally and/or verti-cally into position.

Edit the object as desired.

Construct the next object.

Check the composition in the different saved views as it progresses.

Save often.

PrintingAlways use the Plot/Print setup window for

printing. Click page setup and select let-ter size sheet and landscape orientation. Click Scale to Fit Media and Window Contents boxes. Click preview if desired and Print the following:

Print the four required perspective views us-ing RenderZone dis play mode.

Print the required plan and elevation views using Wireframe dis play mode.

Choose the view from the views palette.

Turn on the appropriate light. Only one light should be turned on for each view.

Refer to the syllabus section on printing.

Submittal Drop your fi le named "XYZ" pre ced ed by

your Cal Poly alias (e.g., bfreeby_XYZ.fmz) into the ap pro pri ate Drop folder on the ARCH_Faculty server.

Print the required views. Neatly letter your name on the fi rst print and on the exer cise eval u a tion form. Arrange the images in the order given in the exercise. Staple the print(s) to geth er with the eval- u a tion form in front and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due no later than 1:00 PM on Thursday of Week 2.

arch 160fre

eb

y

1: XYZ COMPOSITION EVALUATION

Name:Evaluation is based on the standard project grad ing cri te ria de scribed in the syl la bus with the fol low ing spe cifi c issues em pha sized.

Digital❑ ❑ ❑ Prints fi ll sheets in landscape ori en -

ta tion.

❑ ❑ ❑ Light choices differentiate surfaces with clear value changes in prints.

❑ ❑ ❑ Form-Z fi le provided and appropri-ately named.

❑ ❑ ❑ Planes defi ned, named and saved as specifi ed.

❑ ❑ ❑ Layers defi ned, named and saved as specifi ed. There are no empty layers.

❑ ❑ ❑ Views defi ned, named, saved and or ga nized as spec i fi ed.

❑ ❑ ❑ Lights defi ned, named and saved as specifi ed.

❑ ❑ ❑ Surface Style defi ned, renamed, saved as specifi ed. All other sur-face styles removed.

❑ ❑ ❑ Files contains required elements.

❑ ❑ ❑ Model elements all touching.

Digital Grade

Design❑ ❑ ❑ There is at least one visual hole

completely through the com po -si tion when seen from each required view.

❑ ❑ ❑ The composition appears signifi -cantly different from each required view.

❑ ❑ ❑ The ground plane on which ele-ments were built is not ob vi ous.

❑ ❑ ❑ The spaces in the composition are as sig nifi cant as the objects.

❑ ❑ ❑ All faces of the 32' cube are clear-ly implied by the elements of the composition.

❑ ❑ ❑ Quality of exercise exploration.

Design Grade

arch 160fre

eb

y

FORM-Z 2: SUBTRACTION

RequirementsCreate a three-dimensional composition by

cutting from or add ing to a 64' cube that sits on the XY plane and is cen tered on the Z axis.

All spaces must be cut from the 64' cube and any element added must stay within the 64' cube.

All objects used in the process must be solid objects and must be vertically or horizon-tally oriented.

All objects must be constructed, modifi ed and moved with the a one foot grid snap turned on.

The composition must include a minimum of six ver ti cal and six horizontal planar voids or ob jects.

The composition must include a minimum of four ver ti cal and four horizontal lineal voids or ob jects.

A minimum of one element must be copied and ro tat ed (at least four copies) before adding it to and/or subtracting it from the cube.

The fi nal composition must be one continu-ous unioned object; no parts may fl oat in space.

All ghosted elements must be deleted.

Design GoalsThe composition should look signifi cantly dif-

ferent from each re quired view.

The composition should contain space that is as sig nifi cant as the objects.

The plane on which elements were built should not be obvious.

All faces of the 64' cube must be clearly im-plied in the fi nal com po si tion.

ProcessThe following describes the process and

detailed re quire ments for creating the Subtraction com po si tion.

Surface StylesOne existing surface style must be named

Struc ture (Hue Angle 0°, Saturation 0%, Value 100%) and ap plied to all built ele-ments.

All other colors must be re moved from the Sur face Styles palette.

Composition ConstructionConstruct the 64' cube then create another

object which will be used to modify the cube.

Move the new object horizontally and/or vertically into position.

arch 160fre

eb

y

Choose the appropriate boolean operation and subtract or add the element from or to the cube.

Construct the next modifying object.

Consider the design qualities of the composi-tion from the various saved views as you progress. Double check the stated De-sign Goals as you work on your composi-tion.

Save your work often.


Rename the light Southwest.Set the Simple Intensity to 150%.Location: -40, -80, 120Center Of Interest: 0, 0, 0,Turn off shadows.

Open the Lights dialog box.

Delete any lights other than the one you just re de fi ned.

Select the light named Southwest and dupli-cate it three times.

Highlight the fi rst copy and choose Edit.Name: SoutheastLocation: 80, -40, 120Center Of Interest: 0, 0, 0

Highlight the second copy and choose Edit.Name: NortheastLocation: 40, 80, 120Center Of Interest: 0, 0, 0

Highlight the third copy and choose Edit.Name: NorthwestLocation: -80, 40, 120Center Of Interest: 0, 0, 0

Click OK to complete the process. You have now saved all the required lights.

You may defi ne and save other lights as needed to illuminate your perspective views.

ViewsChoose View > Axonometric, 30/60.

Click on Fit in the Window Tools palette.Save the View and name it 30/60.

Choose View > Top.Click on Fit in the Window Tools palette.Save the View and name it Plan.

Choose View > Front.Click on Fit in the Window Tools palette.Save the View and name it South Elev.

Choose View > Right Side.Click on Fit in the Window Tools palette.Save the View and name it East Elev.

Create and save four per spec tive views in the views palette that communicate the essential qualities of the composition.

PrintingChoose a required view from the views pal-

ette.

Turn on the appropriate light. Only one light should be turned on for each view.

All views should fi ll the sheets.

Print the three required perspective views using RenderZone dis play mode on letter size sheets in landscape orientation.

Check your prints using Print Preview. Make sure that Scale To Fit Media and Window Contents are selected.

Submittal Drop your fi le named name_subtract.fmz

(e.g., bfreeby_subtract.fmz) into the appro pri ate Drop folder on the ARCH_Fac-ulty server.

Print the required view(s). Neatly letter your name on the prints and on the ex er cise eval u a tion form. Staple the eval u a tion form in front and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due by 1:00 PM on Thursday of Week 3.

arch 160fre

eb

y

2: SUBTRACTION EVALUATION

Name:Evaluation is based on the standard project grad ing cri te ria de scribed in the syl la bus with the fol low ing specifi c issues em pha sized.


ta tion.

❑ ❑ ❑ Light choices differentiate surfaces with clear value changes in prints.




❑ ❑ ❑ Surface Styles defi ned, named, saved and removed as specifi ed.

❑ ❑ ❑ All ghosted elements deleted.

❑ ❑ ❑ Contains required elements.

❑ ❑ ❑ Model elements all connected and joined through Boolean op-erations.

Digital Grade

Design❑ ❑ ❑ There are visual holes completely

through the com po si tion when seen from each re quired view.

❑ ❑ ❑ The composition appears sig-nifi cantly different from different views.

❑ ❑ ❑ The spaces in the composition are as sig nifi cant as the solids.

❑ ❑ ❑ The 64' cube of space is implied by the elements of the composition.


Design Grade

arch 160fre

eb

y

arch 160fre

eb

y

RequirementsAll objects used in the fi nal submittal must be

3D solid objects.

All objects must be constructed, modifi ed and moved with the one foot grid snap turned on.

The composition must contain:

1) a minimum of eight rectangular forms;

2) adequate variation in the heights of the forms to clearly distinguish them from each other;

3) a top or roof of one form that is a vault, sphere or other non-rectangular shape;

4) an exterior space (e.g. a courtyard) de-fi ned by the architectural elements which enclose the space (completely and/or partially) on at least three sides;

5) two forms that are open structured ele-ments (e.g. trusses or a trellis: built as described);

6) the composition must include a minimum of 6 openings through the exterior walls;

7) at least one interior wall with an opening;

8) forms which are all structurally supported (no parts can fl oat); and,

9) no ghosted elements.

Design GoalsThe composition must have an overall com-

positional theme or concept.

The composition should look signifi cantly dif-ferent from each re quired view.

The design must include a clearly defi ned entry.

The exterior space must oc cu py about 25% of the model's total fl oor area and have an easily iden ti fi able fi gure/shape (e.g. rectangle, circle, tri an gle, etc.).

The spatially defi ning elements of the exterior space should range from more enclos-ing to more open —from more explicit (e.g., solid walls) to more im plic it (e.g., col umns).

ProcessThe following outlines the basic process for

con struct ing the study mod el.

Create a new form•Z fi le & name appropri-ately.

Surface StylesOne existing Surface Style must be renamed

Struc ture (Hue Angle 0°, Saturation 0%, brightness 100%) and ap plied to all struc- tur al elements.

FORM-Z 3: STUDY MODEL

This exercise will explore Form-Z's poten-tial to create quick study models from a 3D mass model. The primary purpose of such a model is to determine the poten-tial of a design idea for further investiga-tion.

arch 160fre

eb

y

A new style must be created, named Site, spec i fi ed as Hue Angle 0°, Saturation 0%, Brightness 85% and ap plied to the site.

All other colors must be re moved from the Sur face Styles palette.

SiteChange the name of the default layer to

"Site." Make it Active.

Make sure the "Site" surface style is selected.

Choose the 3D Extrusion Object Modifi er. Verify that options are set on facetted.

Choose the Circle Center & Radius tool. Options: By #Of Segments > 24.

Grid Snap > On.

Set Heights to -10'.

Click at 0,0 and move the mouse along the X axis. Type 300' in the prompts palette to make a 300' diameter site.

Lock the Site layer and turn it off.

Study ModelCreate a new layer and name it "Structure."

Make it Active.

Select the "Struc ture" surface style.

Choose the 3D Extrusion Object Modifi er. Verify that options are set on facetted.

Create a series of solid 3D mass elements us-ing the rectangle or other 3D solid model tools. The objects do not need to fi ll the entire site. The objects should be real size.

Arrange, align and/or stack the mass ele-ments to create an attractive composi-tion that meets the problem require-ments. Union selected mass elements together as appropriate.

Trellis or Truss construction.

Construct a 2D surface element from a pat-tern of vector lines. Or construct a 2D surface element using selected tools and apply a mesh to the shape.

Choose the 3D Enclosure Derivative Tool and set the options to Center and the Wall Thickness dimension to the appropriate measurements: choose a preset height dimension to compliment.

After using the Derivative Tool group or union the derived forms together. Move the form into post ion as needed. Use one of the multiple copy options to create repeating elements as desired.

Create and save appropriate Arbitrary Planes on selected faces to located openings.

Use the Inset Opening or Insert Hole Tools to make windows or doors.

Consider the design qualities of the composi-tion from the various saved views as you progress.


PlanesCreate, name appropriately for recognition

and save a minimum of 2 arbitrary planes that are useful for positioning windows and other openings in the structure.


Rename the light Southwest.Set the Simple Intensity to 150%.Location: -40, -80, 120 (as a place holder)Center Of Interest: 0, 0, 0,Turn on shadows.

Hold the Option key and click within the Lights pal ette to open the Lights dialog box.

Defi ne and save other lights for other sun positions as needed and companion fi ll lights to illuminate your required ortho-graphic and perspective views.Make your lights so that they accentuate the forms to aid perception.

arch 160fre

eb

y

ViewsCreate, name and save the following Ortho-

graphic and Axonometric views: 30/60, Roof Plan,Floor Plan (cut 4' above XY world plane),South Elev.,East Elev.

Create, name and save the following Per-spective views: Perspective Section AA (cut parallel to the East/West axis looking North);Perspective Section BB (cut selected rooms along the North/South axis looking East or West).

Create and save three additional per spec -tive views in the views palette that com-municate the essential qual i ties of the design:

One eye-level perspective named "Ap-proach" that shows the exterior of the structure and the entry as you approach.

One eye-level perspective named "Space" that shows the ex pe ri ence of being within the courtyard.

One perspective that shows a view that is important to you design.

Views must be saved in the Views Palette in the order given.

PrintingChoose a required view from the views pal-

ette.

Turn on the lights appropriate to the view. Only one major (e.g. sun) light and up to two fi ll lights should be turned on for each view.

Check your image using Print Preview. Make sure that Scale To Fit Media and Window Contents are selected. All prints should fi ll the sheets.

Print the fl oor plan and the 30/60 axonometric views using Surface Render.Hand draft and label a section line on the fl oor plan print showing the location of the section cut for the printed per-spective section.

Print the one of the section perspective views and the approach and space

perspectives using RenderZone (no shad-ows).

All prints are on letter size sheets in land-scape orientation.

Refer to the syllabus section on printing.

Submittal Drop your fi le named "study" pre ced ed by

your Cal Poly alias (e.g., bfreeby_study) into the ap pro pri ate Drop folder on the ARCH_Faculty server.

Print the required view(s). Neatly letter your name on the fi rst print and on the exer cise eval u a tion form. Arrange the images in the order given in the exercise. Staple the print(s) to geth er with the eval- u a tion form in front and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due by 1:00 PM on thursday of Week 4.

arch 160fre

eb

y

3: STUDY MODEL EVALUATION



ta tion.

❑ ❑ ❑ Light choices differentiate surfaces with clear value changes on prints.





❑ ❑ ❑ Planes named and saved as re-quired.


❑ ❑ ❑ Contains required elements.Non-fl at roof as described,Interior wall with opening as de-scribed,Open structure element(s) built as described.

❑ ❑ ❑ Model elements all connected and joined through Boolean op-erations.

Digital Grade

Design❑ ❑ ❑ The composition has a clear com-

positional theme or concept.

❑ ❑ ❑ The composition appears sig-nifi cantly different from different views.

❑ ❑ ❑ The design includes a clearly de-fi ned entry.

❑ ❑ ❑ The size, position and shape of the exterior space make it a key ele-ment in the design.

❑ ❑ ❑ The spatially defi ning elements of the exterior space range from more enclosing to more open.


Design Grade

arch 160fre

eb

y

FORM-Z 4: ORGANIC ROOF

Requirements

Create a folder named "_Roof" preceded by your Cal Poly alias (e.g., bfreeby_roof).

Create a Form-Z fi le named "_organic" pre-ceded by your Cal Poly alias (e.g., bfree-by_Organic) and place it in the Roof folder.

The roof must be based on a scanned draw-ing.

Create a proportionally correct freehand drawing of a mesh of regulating lines. At each intersection of the mesh note a vertical dimension that indicates the roof height at that point. See the sketch in the manual on "Organic Plane Example"

Scan the drawing at 150 spi in grayscale, adjust it for maximum contrast and save it as a Photoshop TIFF fi le named "_Plan" preceded by your Cal Poly alias (e.g., bfreeby_Plan.tif) and place it in the Roof folder.

Follow the process described in manual: "Organic Plane Example" and as dem on -strat ed in class.

Specify the Underlay scale to cover a 64' square area at a min i mum.

Add walls and columns to support the roof, create an entry and defi ne the major space. Refer to the design goals listed below.

Design GoalsThere should be an entry/transition experi-

ence be tween the world and the major space that involves both time and space.

The vertical space defi ning elements of the struc ture should range from more enclos-ing to more open —from more explicit (e.g., solid walls) to more im plic it (e.g., opening, columns, etc.).

Surface StylesOne existing surface style must be renamed

Roof (hue angle 0°, saturaion 0%, bright-ness 100%) and ap plied to all roofs.

A new style must be created, named Site, spec i fi ed as hue angle 0°, saturation 0%, brightness 85% and ap plied to the site.

A new style must be created, named Sup-ports and spec i fi ed as hue angle 40°, saturation 30%, brightness 100% and ap-plied to all ver ti cal elements.

All other styles must be re moved from the sur face styles palette.

arch 160fre

eb

y

SiteCreate a new layer and name it "Site."

Choose the 3D Extrusion Object Modifi er. Options: Facetted.

Choose the Circle Center & Radius tool. Options: By #Of Segments > 24.

Grid Snap > On. Set Heights to -10'.

Click at 0, 0, 0. Move the mouse along the plus X axis. Enter 300' in the Prompts pal-ette and hit Re turn.

Lock the Site layer and make it invisible. Make it visible when rendering a view.

LightsCreate a Group of lights for each required

per spec tive. A minimum of the two lights listed below are required for each group.

Click on the Group button to create a new group. Name the group for one of the perspectives (e.g., Space). Close the Lights dialog box and drag the desired lights into the group.

Rename the light named Sun for the per-spective (e.g., Space Sun).Set the Simple Intensity to 150%.Location: -40, -80, 120Center Of Interest: 0, 0, 0,Shadows > Hard RayTraced.

Rename the light named Space Fill for the per spec tive (e.g., Space Fill).Set the Simple Intensity to 30%.Location: 80, 0, -20Center Of Interest: 0, 0, 0,No Shadows.

Open the Lights dialog box and make a copy of the group and rename it for one of the perspective views.

Edit the location and intensity level for each light to create optimum illumination of the individual per spec tive. Change the location of the lights in the Edit Cone of Vision window using plan view fi rst. Edit the location in the other views carefully.

The lights will probably work best if they are placed at a similar angle to either side of the line of sight.

When rendering a perspective, turn on the appropriate group of lights.

ViewsSetup, name and save the following

Axonometric views: 30/60, Roof Plan,Floor Plan (cut 4' above XY world plane),South Elev.,East Elev.Section (East/West looking North)

Create and save three per spec tive views in the views palette that communicate the essential qual i ties of the design.

One eye-level perspective named "Ap-proach" must show the out side of the structure as you approach the entry.

One eye-level perspective named "Space" must show the ex pe ri ence of being in the major space.

One perspective may be anything you choose.

PrintingPrint the three required perspective views

using RenderZone dis play mode on letter size sheets in landscape format.

All views should fi ll the sheets.

Submittal Drop your folder that con tains the two re-

quired fi les into the ap pro pri ate Drop folder on the ARCH_Faculty server.

Print the required view(s). Neatly letter your name on the fi rst print and on the exer cise eval u a tion form. Staple the print(s) to geth er with the eval u a tion form and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due by 1:00 PM on thursday of Week 5.

arch 160fre

eb

y

4: ORGANIC EVALUATION


Digital❑ ❑ ❑ Folder, Photoshop TIFF and Form-Z

fi les pro vid ed, organized and appro pri ate ly named.

❑ ❑ ❑ Printed pages provided and are in landscape format.

❑ ❑ ❑ Underlay specifi ed and visible in plan view.

❑ ❑ ❑ Layers created, named (e.g., Site, Cones, Roof), or ga nized and saved as spec i fi ed.

❑ ❑ ❑ Orthographic views defi ned, named, saved and or ga nized as spec i fi ed.

❑ ❑ ❑ Perspective views defi ned, named, saved and or ga nized as specifi ed.

❑ ❑ ❑ Lights defi ned, named and saved as specifi ed for each perspective.

❑ ❑ ❑ Light groups differentiate surfaces with clear value changes in each perspective on the prints.

❑ ❑ ❑ Surface Styles defi ned (e.g., Roof, Sup ports, Site), named, saved and re moved as specifi ed.

❑ ❑ ❑ File contains required elements (e.g., roofs, walls, site, etc.).

❑ ❑ ❑ All elements cut to fi t against each oth er.

❑ ❑ ❑ All ghosted and unnecessary ele-ments de let ed.

❑ ❑ ❑ Model construction uses specifi ed pro cess.

Digital Grade

Design❑ ❑ ❑ There is an entry/transition experi-

ence be tween the world and the major space that involves both time and space.

❑ ❑ ❑ The vertical space defi ning ele-ments of the struc ture range from more enclosing to more open —from more explicit (e.g., solid walls) to more im plic it (e.g., openings, col umns, etc.).


Design Grade

arch 160fre

eb

y

arch 160fre

eb

y

RequirementsCreate an architectural progression of spac-

es using any of the tools to date, with em-phasis on architectural qualities through use of the complex operators such as skin, sweep, revolve, and parallel.

Create a FormZ fi le named “_FS.fmz” pre-ceded by your Cal Poly alias.

Create architectural elements including, but not limited to walls, columns, roofs, sculp-ture, holes, trusses, trellises...as needed to express your concept.

Add walls and columns where necessary to support roofs & other overhead elements. Create an entry and defi ne the major space. Refer to the design goals listed.

Design GoalsThe composition must have an overall

compositional theme or concept that is clearly evident in the composition.

There should be clear continuity between various elements.

There should be an entry/transition experi-ence between the world and spaces that involve time and space.

The spatially defi ning elements of the spaces should range from more enclosing to more open —from more explicit (e.g., sol-id walls) to more im plic it (e.g., col umns).

Surface StylesOne existing Surface Style must be renamed

Struc ture (Hue Angle 0°, Saturation 0%, Brightness100%) and ap plied to a major element.

A new style must be created, named Site, spec i fi ed as Hue Angle 0°, Saturation 0%, Brightness 85% and ap plied to the site.

New styles may be created as needed for selected items, each named logically and applied to all pertinent elements.

A maximum of 5 surface styles may be used.

All unused styles must be re moved from the sur face styles palette.

SiteCreate a new layer, name it ‘Site’ and make

it Active.

Make sure the ‘Site’ surface style is selected.

Choose the 3D Extrusion Object Modifi er.

Choose the Circle Center & Radius tool. Options: By #Of Segments > 24.Options: Facetted.

Grid Snap > On. Set Heights to -10'.

Click at 0,0 and move the mouse along the X axis. Type 300' in the prompts palette and hit Return.

Lock the Site layer and make it invisible. Turn it on only when rendering a view.

FORM-Z 5: FORM & SPACE

arch 160fre

eb

y

ObjectsCreate objects as needed to complete your

form and space architectural progression model.

Objects should be created in real sizes. (Do not simply fi ll the site with 300’ tall blocks.)

Carefully plan and build objects to relate to each other and enhance the overall concept of the model.

Rebuild objects that you are not satisfi ed with and/or are inconsistent with your goals.


LayersCreate, name appropriately, and assign ele-

ments to layers using some rationale. (i.e. all roofs on a roof layer)

There should be a minimum of four layers used for organizing elements.

LightsCreate a Group of lights for each required

per spec tive. Focus on lighting areas in each view to show off your composition.

Open the Lights dialog box.

Click on the Group button to create a new group. Name the group for one of the perspectives (e.g., Entry). Close the Lights dialog box and drag two or more lights into the group.

Rename the light named Sun for the per-spective (e.g., Entry Sun).Set the Simple Intensity to 150%.Location: -40, -80, 120 (to be adjusted later)Center Of Interest: 0, 0, 0,Shadows > Hard RayTraced.

Create a new light named ____Fill for the perspective (e.g., Entry Fill).Set the Simple Intensity to 30%.Location: 80, 0, -20 (to be adjusted later)Center Of Interest: 0, 0, 0,No Shadows.

Open the Lights dialog box again.

Make copies of the group and rename them for each of the perspective views.

Edit the location and intensity level for each light to create optimum illumination for each view. Use edit cone of vision to aid in quick light placement. Fine tune all locations.

Turn each light group on when rendering its respective view.

ViewsSetup, name and save the following

Axonometric views: 30/60, Roof Plan,Floor Plan (cut 4' above XY world plane),Section (at a point of interest)

Create, name and save fi ve perspective views (most, if not all should be eye level) in the views palette to communicate the essential qualities of the design.

Name each perspective with a unique and telling description of the view.

PrintingPrint the fi ve required perspective views us-

ing Renderzone display mode on letter size sheets.

All views should fi ll the sheets in landscape orientation.

Submittal Drop your fi le named "_FS.fmz" pre ced ed by

your Cal Poly alias (e.g., bfreeby_FS.fmz) into the ap pro pri ate Drop folder on the ARCH_Faculty server.

Print the required view(s). Neatly letter your name on the fi rst print and on the exer cise eval u a tion form. Staple the print(s) to geth er with the eval u a tion form and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due by 1:00 pm on Thursday of Week 6.

arch 160fre

eb

y

5: FORM & SPACE EVALUATION


Digital❑ ❑ ❑ File provided and appropriately

named.

❑ ❑ ❑ Prints fi ll sheets in landscape ori en -ta tion.

❑ ❑ ❑ Layers created, named, orga-nized, and saved as specifi ed.

❑ ❑ ❑ Axonometric views defi ned, named and organized as speci-fi ed.

❑ ❑ ❑ Perspective views defi ned, named and organized as specifi ed.

❑ ❑ ❑ Lights defi ned, named and saved as specifi ed for each perspective.

❑ ❑ ❑ Light groups differentiate surfaces with clear value changes in each print and enhance space.


❑ ❑ ❑ File contains a variety of elements utilizing unique aspects of tools.

❑ ❑ ❑ All elements are modeled with ac-curacy at true scale.

❑ ❑ ❑ All ghosted and unnecessary ele-ments deleted.

Digital Grade

Design❑ ❑ ❑ The composition has a clear

theme or concept.

❑ ❑ ❑ The composition appears signifi -cantly different from various views.

❑ ❑ ❑ The design includes a clearly de-fi ned entry.

❑ ❑ ❑ Tools use unique tool ablities to create interesting deisgn ele-ments.


Design Grade

arch 160fre

eb

y

arch 160fre

eb

y

StrategyImport the underlay showing the topogra-phy of the site and trace it using open wires. Group like contour using the group tool. Select the contours in sequence. Apply the Terrain Model tool. Trace the center line of a path using the 3D Enclosure Tool and split it from the model. Adjust its height for effect.

Construct a garden wall with an opening on the arbitrary plane. Articulate the top of the wall and the opening edge.

Process

Terrain ModelRefer to the Form-Z Manual, Building A

Terrain Model.

Import the Underlay (topo_map.tif). Adjust location as required.

Draw the site boundary. Use grid Snap if helpful. The site must be a closed 2D Surface.

Trace the contours to a point beyond the site boundaries with the B-Spline tool set to 2D Surface. Turn Grid Snap off.

Group contours that are at the same elevation.

Set the Topological Level to Group. Select the contours in order from the lowest to the highest.

Set the Terrain Model tool options.Choose Mesh Model.Set Mesh Options. Enter the mesh resolution X, Y, Z. (use 4') Choose Triangulate.

Enter Site (Starting) height. (use 4')

Choose Contour Heights: Set New: Interval and enter the vertical distance between con tours. (use 2')

Choose Interpolation: Fall Lines which gener-ally produces the most accurate models.

Note: Smooth by Interval only applies to Stepped and Triangulated Contour models.

Close the Options dialog boxes and click on the site boundary.

Rename the layer as Site.

Path ConstructionPlan View. Choose the 2D Enclosure tool set

option to Center and enter the width of the path (use 6'). Use the B-Spline tool and draw the center line of the path.

Axonometric View. Use the 3D Extrusion derivative tool to make the path volume taller than the site.

Choose the boolean Split tool and set its op-tions to One Way. Click on the site then the path. Use the move tool to raise the path 6" above the site.

FORM-Z 6: TERRAIN MODEL

In this exercise you will construct a path on a 3D site, which refl ects topological conditions similar to an actual building site. You will then design and construct a wall with an opening at the path.

arch 160fre

eb

y

Select a different surface style and apply to the path.

Building Site & WallThe Form-Z Manual describes building a site

and modifying the site contours to refl ect site grading for a structure (e.g. excava-tion or fi ll).

The following will refl ect a simpler situation in which the structure is constructed of uniform height and part of the structure is below ground. This assumes that the site underlay refl ects the fi nal confi guration of contours.

Determine a relatively level course along the site that the garden wall will follow. Ascertain the lowest point along the wall's path.

Create a new layer and name it Wall. Make it active, dim and lock the Site layer.

Construct a temporary rectangular solid as a means to locate an arbitrary plane.

Defi ne, name and save an arbitrary plane using one of the previously mentioned methods.

Delete the temporary rectangular solid.

Construct a garden wall which is 8 feet high or taller, at least 20' long and sits on the arbitrary plane. Use View> Plane Projection > Top to construct elements in plan view on the arbitrary plan.

There must be an opening or gate though the wall centered over the path. The opening must be enclosed on three sides (i.e. left, right and top edges). Create, name and save an arbitrary plane which is coincidental to the front face of the wall to aid in opening construction.

Articulate (i.e. trim) the top of the wall and the opening with a thickened architec-tural element using the Sweep Tool.

Top of wall sweep: Create a source shape to sweep the along the wall top. Choose Sweep > Axial Sweep > select the source shape and then the face of the wall top. Adjust position and size as desired.

Opening sweep: Using end point snap and the vector line

and/or spline tools, trace the edge of the opening you wish to articulate. Construct a 2D profi le as a source shape. Use the Sweep Tool and sweep the source shape along the path you just made. Adjust the position and size of the accent element as desired.

Surface StylesOne Style must be renamed Site and ap-

plied to the model. Use an appropriate predefi ned style as a base point and make at least one modifi cation to the preset properties.

One Style must be renamed and ap plied to the path using the same rationale.

One Style must be renamed Wall and applied to the wall.

Remove all other surface styles. No unused surface styles may be left in the Sur face Styles palette.

LightsReset the default light to optimize lighting for

the approach perspective of the gate. Turn shadows on to help articulate these forms.

Defi ne and save other lights as needed to adjust shade or shadow areas in the per-spective view. Do not select shadows for additional lights.

Continue adding and adjusting lights until composition view is effective.


Fit to window and name it 30/60.

Choose View > Top.Fit to window and name it Plan.

Select the wall face arbitrary plan and choose Projection View > Top. Fit to win-dow and name it Front Elev.

Create and save one per spec tive view that communicates the essential qualities of approaching the gate from a point along the path. Adjust the Eye Point to re-fl ect the height of the viewer's eye (5'-0") above the topo elevation and the thick-ness of the model base. The view must

arch 160fre

eb

yprovide a good sense of the design of both the top and opening articulations. Use shadows to accentuate the three dimensional qualities of these forms.

PrintingMake sure all required layers of the model

are showing. Turn on the appropriate light(s). All printed views should fi ll the sheets in landscape orientation.

Print the required orthographic views in Sur-face Render dis play mode in landscape orientation.

Print the required perspective view using RenderZone dis play mode in landscape orientation.

Submittal Drop your fi le named "Topo" pre ced ed by

your Cal Poly alias (e.g., bfreeby_Topo) into the ap pro pri ate Drop folder on the ARCH_Faculty server.

Neatly letter your name on the fi rst print and on the ex er cise eval u a tion form. Staple the prints to the eval u a tion form and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due by 1:00 pm on thursday of Week 7.

arch 160fre

eb

y

6: TERRAIN EVALUATION



ta tion.







❑ ❑ ❑ Arbitrary planes are named and saved.

❑ ❑ ❑ Path is colored and height is ad-justed.

❑ ❑ ❑ Contains required elements.

❑ ❑ ❑ Wall top and opening are articu-lated as specifi ed.

Digital Grade

Design❑ ❑ ❑ The articulations at the top of the

wall and edges of the opening/passage are well proportioned to the size of the wall and enhance the architectural quality of it.

❑ ❑ ❑ Light and shadow aid the percep-tion of the articulation forms at the wall top and the opening.


Design Grade

arch 160fre

eb

y

StrategyBegin by documenting the object or space

you wish to model in formZ. Use 8.5x11 paper, sketching the object or space with all pertinent dimensions. Dimension carefully to aid in formZ construction ac-curacy.

Create and deliniate one signifi gant ar-chitectural space or objects of interest designed by a noted architect or other desinger such as Nelson, Gray, Eames, Mies, Starke, etc...

Use class examples as a point of reference for appropriate compositions. Magazines and catalogs may also be used.

Process

Digital ModelCreate a model of one space, with material-

ity, or at least two signifi cant objects.

Scan and import any needed sketches into formZ to be used as underlays. Hand drawings constructed carefully to scale can be virtually traced into formZ.

Using any of the tools in formZ, model the objects or space accurately into the digital world.

Surface StylesCreate and apply surface styles accurately

to your digital composition. Use appropri-ate predefi ned styles as base points and make modifi cations to more accurately portray your real life materials.

Create surface styles using bump maps, image maps, or any of the other native formZ suface coloring/rendering tools.

Name all surface styles appropriately and uniquely for their uses.

Remove all unused surface styles. No un-used surface styles may be left in the Sur face Styles palette.

LayersCreate & name layers as needed to con-

struct your model. Organize pieces and/or parts on layers in an organized manner.

Name all layers appropriately.

Remove all unused layers.

LightsAdjust & name lights as needed to refl ect

unique qualities of your model.

All lights must be named uniquely. Lights may cast shadows as desired.

Create a group of main and fi ll lights for each required perspective.

FORM-Z 7: OBJECT/SPACE MODEL

In this exercise you will construct a digital version of interesting objects and/or an existing architectural space.

arch 160fre

eb

y


Fit to window, save the view and name it 30/60.

Choose View > Top.Fit to window and name it Plan.

Create and save a minimum of four unique perspectives that show off the unique qualities of your project.

PlanesCreate, name and save 2 arbitrary planes

used in the construction of your model.

EvaluationModel grading will be weighted on chal-

lenge/ relative diffi culty of object or space. Choose an object or space thoughtfully.

PrintingMake sure all required layers of the model

are showing. Turn on the appropriate light(s). All printed views should fi ll the sheets in landscape orientation.

Print the required orthographic views in Sur-face Render dis play mode.

Print the required perspective view using RenderZone dis play mode.

Submittal Drop your fi le named "model" pre ced ed by

your Cal Poly alias (e.g., bfreeby_model) into the ap pro pri ate Drop folder on the ARCH_Faculty server. Do not include fi les used as underlays in the submission folder.

Attach the required sketches/drawings be-hind the required prints.

Print the required views. Neatly letter your name on the fi rst print and on the exer cise eval u a tion form. Staple the prints to the sketches and eval u a tion form and place them in your in struc tor's home work box in 05-308.

The prints and digital fi les are due by 1:00 pm on thursday of Week 9.

arch 160fre

eb

y

7: OBJECT/SPACE EVALUATION



ta tion.







❑ ❑ ❑ Arbitrary planes are named and saved.

❑ ❑ ❑ Hand drawn sketches provided and accurate.

Digital Grade

Design❑ ❑ ❑ The objects or space has interest

and quality and effects and in-triguing digital model

❑ ❑ ❑ Light and shadow aid the per-ception of the articulation of the forms.

❑ ❑ ❑ Composition construction and views are as interesting as original objects or space.

❑ ❑ ❑ Modeled object or space offered suffi cient challenge of modeling skills.


Design Grade

arch 160fre

eb

y

arch 160fre

eb

y

EvaluationThe requirements, goals and evaluation cri-

teria of the original assignment will be used to evaluate the resubmittal. The original exercise evaluation sheet MUST ac com pa ny the resubmittal or it will not be eval u at ed.

Resubmittals will be evaluated in terms of overall exercise improvement—not just improvement of specifi c items.

A resubmittal will be evaluated more rigor-ously than the original submittal because it should refl ect greater understanding.

Resubmittal Options1: No Resubmittal. If you choose not to re-

submit an exercise, the lowest grade you received on the previous four exercises will be used as your grade for the fi nal exercise.

2: Resubmittal and Improvemen. If you choose to resubmit and the evaluation results in a higher grade, the new grade will be used for the original assignment and the resubmittal as sign ment.

3: Resubmittal and No Improvement. If you choose to resubmit an exercise and the evaluation results in a lower grade than the original, the new grade will only be used for the resubmittal grade and will not replace the grade originally received for the assignment.

SubmittalCreate a folder name_resubmit (e.g., bfree-

by_resubmit). Place the folders and/or fi les originally required for the exercise that you are resubmitting in this folder. Make sure that fi le names and organiza-tion meet the requirements of the original exercise.

Drop the resubmittal folder in the ap pro -pri ate drop fold er on the ARCH_Faculty server.

Make prints as required in the original exer-cise. Neatly letter your name on the fi rst sheet and the ex er cise eval u a tion form. Staple the print(s) to the eval u a tion form and place them in your in struc tor's homework box in 05-308.

NOTE: The original exercise eval u a tion sheet MUST ac com pa ny the resubmittal or it will NOT be eval u at ed.

The prints and digital fi les are due no later than 1:00 PM on thursday of Week 11.

FORM-Z 8: RESUBMITTAL

The fi nal exercise will be a resubmittal of one of the seven previous exercises. This provides an opportunity to improve a low score, complete a missed assignment and demonstrate improvement.

arch 160fre

eb

y

arch 160fre

eb

y

INDESIGN 1: QUOTES

The task is to create a page layout with the text and images provided. The goal is to begin the exploration of text styles and image importing.

Process & RequirementsCreate a folder and name it with your Cal

Poly alias (e.g., bfreeby_InD_One).

Create and save a new InDesign fi le in the folder named name_layout.indd.

The fi le must have one letter size page in por-trait orientation with 1/2” margins.

You are to design a page layout using the text and images provided.

The design must stay within the 1/2" margins of the page.

You must use three of the images provided. Copy desired images into your folder before placing them in InDesign.

The imported images must be Linked to the InDesign fi le-do not embed the images.

A minimum of two of the imported images must be at 100%. Other images may be scaled and distorted as desired.

Three quotes minimum must be used, and the text must be kept as a single continu-ous thread that fl ows be tween blocks.

Replace "Your Name" with your name. This paragraph should be one of the last things you see on the page.

Individual paragraph styles must be created for each text para graph that is different. They must be named Title, Text1, and My-name at a minimum with ad di tion al text styles named Text2, Text3, etc.

Create Text and Image layers at a minimum. The text must be on the text layer and the images must be on the im ag es layer.

Guides must be placed to defi ne the layout structure and locate individual elements. Defi ne margins using InDesign (preset or layout > margins and columns).

You must make all text clearly legible.

Design GoalsCreate a clear visual text hierarchy : title >

quotes > your name.

Create clear visual relationships between elements through placement, pattern, hi-erarchy, contrast and/or bal ance. Rein-force the relationships through con cepts of proximity, alignment, repetition and/or organization (lineal, radial, grid, fi gural).

Defi ne and make visible a theme/concept through all design decisions.

SubmittalDrop your folder into the appropriate drop

folder on the ARCH_Faculty serv er. Only include the name_layout fi le and the TIFF fi les used in the project.

Print the page, staple it to the eval u a tion form and place them in your in struc tor's home work box in 05-308.

The print and digital fi le are due no later than 1:00 pm on Tuesday of week 7.

arch 160fre

eb

y

1: QUOTES EVALUATION

Name:Eval u a tion is based on the standard exercise grading criteria de scribed in the syl la bus with the fol low ing specifi c issues emphasized.

Digital❑ ❑ ❑ Files and folders named and or ga -

nized as spec i fi ed.

❑ ❑ ❑ Page sized and margins de fi ned as spec i fi ed.

❑ ❑ ❑ All elements are kept within the margins as specifi ed.

❑ ❑ ❑ There are no unused el e ments (e.g. empty text blocks, layers).

❑ ❑ ❑ Imported fi les are linked as spec- i fi ed.

❑ ❑ ❑ Imported images are placed, scaled and/or ma nip u lat ed as specifi ed.

❑ ❑ ❑ Layers created, named, ordered and con sis tent ly used as specifi ed.

❑ ❑ ❑ Paragraph styles created, named, ordered and con sis tent ly used as spec i fi ed.

❑ ❑ ❑ Guidelines used to defi ne lay out structure and align el e ments.

❑ ❑ ❑ Text is clearly legible.

Digital Grade

Design❑ ❑ ❑ Layout meets project constraints.

❑ ❑ ❑ Text exhibits a clear vi su al hi er -ar chy: title > quote > name.

❑ ❑ ❑ The design exhibits clear visual re la tion ships between elements.

❑ ❑ ❑ The design exhibits creativity and a theme/concept that affects all elements.

Design Grade

arch 160fre

eb

y

INDESIGN 2: ARCHITECTURE

A minimum of two closed paths fi lled with a color or gradient must be included. Graphics should add to and enhance the overall layout quality.

Guides must be placed to defi ne layout structure and locate and align individual el e ments.

Design GoalsCreate a clear visual hierarchy of text: Ar-

chitecture > Phrase > Name.

Create clear visual relationships between elements through pattern, hierarchy, contrast and/or bal ance. Reinforce the relationships through con cepts of proxim-ity, alignment, repetition and/or organiza-tion (lineal, radial, grid, fi gural).


SubmittalDrop your fi le named "Architecture" preced-

ed by your Cal Poly alias (e.g., bfreeby_Architecture) into the appropriate Drop folder on the ARCH_Faculty serv er.

Print the page. Neatly letter your name on the ex er cise eval u a tion form. Staple the form to the eval u a tion form in and place them in your in struc tor's home work box in 05-308.

The print and digital fi le are due by 1:00 pm on tuesday of week 8.

Process & RequirementsYou are to design a page layout that in-

cludes text, images and paths as spec- i fi ed.

The page must be a portrait oriented letter size sheet with 1/2" margins on all sides.

Text and Image layers must be created and con sis tent ly used at a minimum.

The word "Architecture" and its constituent let ters may be used as many times as you wish.

The word "Architecture" and its constituent letters must always be con vert ed to out-lines by using type > create outlines.

A notable quote by an architect of your choosing must be used once in its own text block.

You must include the text, "Designer: Your Name" in its own text block.Name" in its own text block.Name

Text Styles named Phrase and Name must be created, saved and used to format the respective text.

All text must be clearly legible.

You must use a minimum of two images of projects by the architect of your choos-ing. Images may be scaled, dis tort ed, ed it ed, colored and/or used as many times as you wish.

All imported images must be embedded into the InDesign fi le.

arch 160fre

eb

y

2: ARCHITECTURE EVALUATION

Name:Eval u a tion is based on the standard exercise

grading criteria de scribed in the syl la bus with the fol low ing specifi c issues empha-sized.

Digital❑ ❑ ❑ File named as spec i fi ed.

❑ ❑ ❑ InDesign page sized as specifi ed.

❑ ❑ ❑ All elements are kept within the limits of the page and/or margins.

❑ ❑ ❑ There are no unused or extraneous el e ments (e.g., empty text blocks, layers, styles, etc.).

❑ ❑ ❑ Imported fi les embedded as speci-fi ed.

❑ ❑ ❑ InDesign layers created, named, ordered and con sis tent ly used as specifi ed.

❑ ❑ ❑ InDesign paragraph styles cre-ated, named, ordered and con sis -tent ly used as spec i fi ed.

❑ ❑ ❑ InDesign guidelines used to defi ne lay out structure and align el e -ments.

❑ ❑ ❑ All text clearly legible.

Digital Grade


❑ ❑ ❑ Text exhibits a clear vi su al hi er -ar chy: Ar chi tec ture > Phrase > Name.



Design Grade

arch 160fre

eb

y

Process & RequirementsThere are a series of folders provided con-

taining images and text associated with a range of ar chi tects.

You are to choose one of the architects and design a page layout that uses images, text and graphics to express some qual- i ties perceived in the architect's work.

If you desire to use an architect other than one provided, you must scan and pre-pare high resolution images and quotes, formatting similar to the provided folders.

You must carefully evaluate your architect of choice’s unique style, adding colors, text, and graphics complement and enhance the images.

Add your Cal Poly alias to the name of the folder of the chosen architect (e.g., bfreeby_Moore). This is the folder that you will hand in.

Open the folder and create a new InDesign fi le named with your Cal Poly alias and Express (e.g., bfreeby_Express).

Create a single legal size page (8.5 x 14) in either landscape or portrait orientation.

The layout elements may bleed - they may go to the edge of the page.

Use the text provided for the following:

Architect: The name of the architect must be the most prominent text in the layout

- it is the title. The title may use any font and must be converted to outlines.

Quote: The quote on the architect's work must be the second most prominent text element in the layout. A text style named "Quote" must be developed and applied to the quote.

Name: Add your name as the graphic de-signer. It must be clearly legible but not draw visual at ten tion to itself. A text style called "Name" must be developed and applied to your name.

You must use a minimum of three images. They may be cropped, scaled, dis tort ed and ed it ed in any way you choose using Photoshop. Images may not be scaled, dis tort ed and ed it ed in InDesign.

All images must be at 150 dpi, at their fi nal size, have their levels adjusted and con-verted to TIFF or PSD format before im-porting them into InDesign.

Only the fi les imported into InDesign and the fi nal InDesign fi le may remain in the fold-er. All imported images must be linked to the InDesign fi le.

Layers for text and images must be specifi ed, named and saved at a minimum. Addi-tional layers may be created as needed and named to facilitate rec og ni tion by others.

INDESIGN 3: EXPRESSION

arch 160fre

eb

y

Design GoalsCreate clear visual relationships between

elements through pattern, hierarchy, contrast and/or bal ance. Reinforce the relationships through con cepts of proxim-ity, alignment, repetition and/or organiza-tion (lineal, radial, grid, fi gural).


Visually communicate some qualities per-ceivable in the architect's work. There must be a clearly visible graphic relation-ship between the designer's work and your layout/presentation.

SubmittalDrop the folder (e.g., bfreeby_Moore) into

the ap pro pri ate InDesign Drop folder on the ARCH_Faculty serv er.

Print one copy of the layout using fi t to page on a letter size sheet.

Print another copy of the layout on two let ter size sheets at full size using the tile func- tion.

Letter your name neatly on the eval u a tion form and staple it in front of your home-work and place them in the in struc tor's home work box in 05-308

The prints and digital fi les are due by 1:00 pm on tuesday of week 10.

arch 160fre

eb

y

3: EXPRESSION EVALUATION



❑ ❑ ❑ Print quality.

❑ ❑ ❑ Prints as specifi ed (fi t to page & tiled).

❑ ❑ ❑ InDesign page sized as specifi ed.

❑ ❑ ❑ All elements are kept within the limits of the page.

❑ ❑ ❑ There are no unused or extraneous el e ments (e.g., empty text blocks, text styles, layers, etc.).

❑ ❑ ❑ Images linked as specifi ed and in TIFF or PSD format.

❑ ❑ ❑ Images at 100%.

❑ ❑ ❑ Architect's name converted to outlines.


❑ ❑ ❑ InDesign text styles created, named, ordered and con sis tent ly used as spec i fi ed.

❑ ❑ ❑ InDesign guidelines used to defi ne lay out structure and align el e -ments.

❑ ❑ ❑ All text clearly legible.

Digital Grade


❑ ❑ ❑ Text exhibits a clear vi su al hi er -ar chy: Title > Quote > Name.


❑ ❑ ❑ The layout/design visually commu-nicates some qualities perceivable in the architect's work.


Design Grade

arch 160fre

eb

y

arch 160fre

eb

y

INDESIGN 4: PRESENTATION

You are to design a four page presenta-tion that could be used in a portfolio, specifi cally demonstrating your use of applications learned this quarter.

Process & RequirementsName the fi le "pages" preceded by your Cal

Poly alias (e.g., bfreeby_pages).

Create a folder and name it "page_layout" preceded by your initials (e.g., bf_page_layout). The folder should contain your InDesign fi le and any images used in the pages. No unused images are to be in-cluded. All images should be linked.

All pages must contain compiled or ren-dered images generated for this class. Graphics, text, additional images, proj-ect descriptions, etc may be added as needed as support information.

A master page must be developed and applied to all 4 pages. The master page must contain all common graphics, infor-mation, and guides that set the required margins and locate differing elements in common locations on all pages.

Name the Master Page "layout."

There is a 1/2" margin on all sides. Nothing may extend into the mar gins.

Text styles named Title and Name at a minimum must be created, named and saved in the paragraph styles palette.

Layers named Text, Graphics, and Images must be cre at ed, named and saved in the layers palette.

Your name must be included on the pages.

The design of each page should comple-ment the contained images as well as retain continuity throughout.

Design GoalsThe pages should exhibit a clear organizing

theme/con cept.

The elements on each page should en-hance the overall quality of the page.

Each page should exhibit a visual hierarchy pertaining directly to relevance of infor-mation.

Each page should exhibit a balance of weight and motion.

The typography and any graphic elements should relate, enhance and be visually secondary to the images.

SubmittalDrop the folder into the ap pro pri ate InDesign

Drop folder on the ARCH serv er.

Print the pages in color on letter size sheets. Neatly letter your name on the ex er cise eval u a tion form. Staple the print(s) to- geth er with the eval u a tion form in front and place them in your in struc tor's homework box in 05-308.

The prints and digital fi les are due by 1:00 pm on tuesday of week 11.

arch 160fre

eb

y

4: PRESENTATION



❑ ❑ ❑ Print quality.

❑ ❑ ❑ InDesign pages sized as specifi ed.

❑ ❑ ❑ File contains four pages.

❑ ❑ ❑ All elements are kept within the limits of the page margins.

❑ ❑ ❑ There are no unused or extraneous el e ments (e.g., empty text blocks).


❑ ❑ ❑ InDesign paragraph styles cre-ated, named, ordered and con sis -tent ly used as spec i fi ed.

❑ ❑ ❑ InDesign Master Page defi ned, named, applied and contians specifi ed elements.

Digital Grade

Design❑ ❑ ❑ Image selection represents quality

projects.

❑ ❑ ❑ Graphical elements enhance im-ages and projects.

❑ ❑ ❑ Each page retains appropriate hierarchy of information.

❑ ❑ ❑ Composition exhibits a balance of weight and motion.

❑ ❑ ❑ Overall effectiveness of presen-taion.

Design Grade

arch 160 CONTENT & OBJECTIVEScontent-calpoly-edu.s3.amazonaws.com/architecture/1/programs/...One ad...

Documents

Transcript of arch 160 CONTENT & OBJECTIVEScontent-calpoly-edu.s3.amazonaws.com/architecture/1/programs/...One ad...