Arch 2502 - Dalhousie University...The Historical Atlas of New York City, Third Edition: A Visual...

Arch 2502(Winter 2019)

Graphic Analysis

Equipment and MaterialsEach student is expected to acquire the items below. They are available from the Sexton Campus bookstore and/or Deserres, 1546 Barrington Street. The total cost should be about $____.

• Drawing equipment: TBA• Drawing materials: TBA

Dalhousie University and the Faculty of Architecture and Planning provide student access to digital software. • Digital software: Google Maps, Adobe Photoshop, InDesign, Illustrator, Microsoft PowerPoint/Keynotes.

Printing is available from the Faculty’s print shop and commercial printers (Staples, Wade, etc.).

TextbooksThese two books are available from the Sexton Campus bookstore and online sources. The total cost should be about $____. [to be added] [to be added]Other references are on the ARCH 2502 Brightspace site or on reserve at the Sexton Library circulation desk.

Evaluation Criteria and StandardsAssignments are graded by the instructors, in consultation with the course assistants. Each assignment is evaluated according to two basic criteria:

• ability to observe, document, and present formal and spatial qualities of the built environment• awareness of manual media and techniques for describing the built environment

More specific criteria are noted in the assignment outlines and/or during class.There are no group assignments in the course, so all assignments will be assessed individually.A written evaluation will be provided to each student three times during the course, following each submission.Each part of the course (Freehand Drawing, Technical Drawing, and Modeling) is worth one-third of the final grade.Undergraduate standards are noted in the undergraduate calendar (Academic Regulations > 17.1):

• Excellent (A–, A, A+): Considerable evidence of original thinking; demonstrated outstanding capacity to analyze and syn-thesize; outstanding grasp of subject matter; evidence of extensive knowledge base.

• Good (B–, B, B+): Evidence of grasp of subject matter, some evidence of critical capacity and analytical ability; reasonable understanding of relevant issues; evidence of familiarity with the literature.

• Satisfactory (C–, C, C+): Evidence of some understanding of the subject matter; ability to develop solutions to simple problems; benefiting from his/her university experience.

• Marginal pass (D): Evidence of minimally acceptable familiarity with subject matter, critical and analytical skills.• Inadequate (F): Insufficient evidence of understanding of the subject matter; weakness in critical and analytical skills;

limited or irrelevant use of the literature.Final grades are calculated by converting the three letter grades to median percentages, combining them, then converting the percentage back to a letter grade.Without medical documentation, the grade for a late assignment will be deducted 10% per weekday.No assignments will be accepted after the last day of weekly classes (Tuesday, April xx).

Student Rights and ResponsibilitiesPlease see the School’s “Academic Regulations” page (tinyurl.com/dal-arch-regulations) for a summary of university policies affecting academic courses:

• Accommodation Policy for Students• Academic Integrity• Code of Student Conduct• Services Available to Students

Dalhousie University - School of Architecture Course outline - Winter 2019

ARCH 2502.03: Graphic Analysis

Primary instructor: Ken Kam (Medjuck HA16), [email protected]; office hours TBACourse assistants: Robin Ellis ([email protected]) & Alejandro Adriazola ([email protected])Credit hours: 3Prerequisite: Completion of one year of university; or permission of instructor. Format: lectures and tutorials

Calendar DescriptionThis course studies principles and techniques for documenting, analyzing, and presenting characteristics of the built environment. Using manual and digital media, students learn about mapping, photographic narrative, and composition of word and image.

Additional DescriptionThis course is intended for students who are interested in the built environment. It anticipates further studies in community de-sign, urban studies, urban design, sustainability, architecture, or landscape architecture.

Learning Objectives• learn to document, analyze, and present characteristics of the built environment• gain an awareness of manual and digital media for analyzing the built environment

AssignmentsStudents must complete all assignments to finish course. More details during class. See the additional project outlines for Map-ping, Photographic Narrative, and Composition of Word and Image.

Schedule Week Date Lecture TutorialWeeks 1–4: Mapping Week 1 January 11 The visible city Assignment 1a Week 2 January 18 The hidden/invisible city Assignment 1b Week 3 January 25 The Urban Map Assignment 1c Week 4 February 01 Munro day (no-class) Assignment 1dWeeks 5–9: Photographic Narrative Week 5 February 08 History of photography Assignment 2a Week 6 February 15 Point of view Assignment 2b Week 7 (no class - study break) Week 8 March 01 Narrative structure Assignment 2c Week 9 March 08 Site Analysis Assignment 2dWeeks 10–13: Composition of Word and Image Week 10 March 15 Compositional principles Assignment 3a Week 11 March 22 Compositional techniques Assignment 3b Week 12 March 29 Narrative and graphic structure Assignment 3c Week 13 April 05 Narrative and graphic structure II Assignment 3d

For this a three-credit-hour course, each student is expected to spend approximately nine hours per week on course-related activi-ties, including classes, readings, and assignments.Due Dates • Mapping (Assignments 1a–1d) TBA• Photographic Narrative (Assignments 2a–2d) TBA• Composition of Word and Image (Assignments 3a–3d) TBA

1. The Visible City2. The Hidden City3. The Invisible City4. The Urban Map

5. Photographs - a time machine6. The Approach7. A Narrative Structure8. Site Analysis

Winter

Photographic narrative

Mapping

Composition of word and image

10. Composition Principles11. Composition Techniques12. Narratives and Graphic Structure13. Narratives and Graphic Structure II

Mapping

Description:

When starting a site analysis, a map of a city will help thinking and provide a base for a drawing. Analytical drawings can begin with tracing over

a base map and isolate particular aspect of the city’s orga-nization. Separating these informations like power lines, vegetation, or property lines..etc, allow the city to be read as a series of layers.

Exercise 1.1: You are assigned to an area or a street in Hali-fax. You are to create and compare different visible elements of the site by producing a series of trace paper drawings. Include a 100-words companion text to describe what you’ve learned from the exercise.

General process (more details are presented during class):1. Create a base map of an area or a street (figure-

ground map).2. Identify visible elements on two different parts of the

area or street.3. Using tonal/texture drawing methods from previous

weeks and produce multiple layers of visible elements by tracing over a base map (e.g. vegetation, power line post...etc.)

Goal: To use a number of analytical drawings, shown together, to better understand the composition of a site. What you need: ∙ Trace paper ∙ Wood graphite pencils (4H - 8B) ∙ Sketchbook

Readings: • Sanborn Maps - https://www.loc.gov/collections/

sanborn-maps/articles-and-essays/sanborn-samplers/

The Visible City( s i t e a n a l y s i s )

References:

• Urban Design Associates, The Urban Design Handbook: Techniques and Working Methods, W.W. Norton & Compa-ny; 2nd edition.

• LaGro J. A., Site Analysis: Informing Context-Sensitive and Sustainable Site Planning and Design, Wiley; 3rd edition

Sanborn Fire Insurance Map from Boston, Suffolk County, Massa-chusetts - https://www.loc.gov/collections/sanborn-maps/?fa=sub-

ject%3Aboston

Mapping

Lorraine Farrelly, Drawing for Urban Design, 75

Mapping

students’ work (Arch 2000, 2016)serial view through the city

Mapping

Description:

Traditional maps display our perceived reality of the world on a two dimensional plane at a par-ticular time. Creating a narrative describing the

“passage of time” of a place, requires multiple maps (rep-resenting with a consistent method) and a time duration.

Exercise 1.2: You are asked to research the history of a street and/or an area in Halifax. You are to create and compare the changes of the street by producing a series of trace paper draw-ings. Include a 100-words companion text to describe what you’ve learned from the exercise.

General process (more details are presented during class):1. Research the history and development of an area.2. Create a sequence of chronological maps which show

the development/change of an area. 3. Using different tonal/texture drawing methods to

emphasize the changes in the given area. 4. Each map/drawing requires a consistent size to make

a clear and concise comparison.

Goal: Using a range of analytical plan drawings shown together to better understand the history of a site. What you need: ∙ Trace paper ∙ Wood graphite pencils (4H - 8B) ∙ Sketchbook

Readings: Edward R. Tufte, Envisioning Information, pg.97-111

The Hidden City(narrat ive of space and t ime)

References:• Farrelly, Lorraine 2011, Drawing for Urban Design, Lau-

rence King Publishing Ltd. • Knox, P. 2014, Atlas of Cities, Princeton, New Jersey:

Princeton University Press.• Homberger, E. 2016, The Historical Atlas of New York

City, Third Edition: A Visual Celebration of 400 Years of New York City’s History, St. Martin Griffin.

Halifax Peninsular population density map,

1887

Mapping

Norman Crowe, Building Cities, Toward a civil and sustainable environment, pg.106-107

Mapping

Peter Cook, The City, Seen as a Garden of Ideas,

pg.60

Mapping

E. Hutchison, Drawing for Landscape Architecture, Thames & Hudson, 2011 pg 54-55

Mapping

Mapping

Description:

Creating maps as both aesthetic objects and as empirical evidence can engage the mental faculties of the observer. Imagine graphically representing

the city’s invisible force including noise levels, population density, building heights, cultural diversity, etc. How does a map represent it in an aesthetic and accurate way?

Exercise 1.3: You are assigned to two different areas in Halifax. You are to create and compare different invisible elements of the street by producing a series of trace paper drawings. Include a 100-words companion text to describe what you’ve learned from the exercise.

General process (more details are presented during class):1. Identify several common invisible elements of two

different parts of an area or street (e.g. population density, noise level, and/or lighting). The purpose of two is for comparison.

2. Use a plan drawing as a base, lay trace paper on top, and draw several invisible graphic elements. Using tonal/texture drawing methods learned from previous weeks to complete the exercise.

Goal: Using a range of analytical drawings to reveal a multidi-mensional view of an area.

What you need: ∙ Trace paper ∙ Wood graphite pencils (4H - 8B) ∙ A computer for accessing GOOGLE MAP ∙ Sketchbook

Readings:

1. Nadia Amoroso, The Expose City, pg 154-157.2. Natalia Skoczylas, Deliberate map(ping), the role of citizen

cartography, in On Site Review no. 31 pg. 40-43.

The Invisible City

References:• Amoroso, N. 2011, The Exposed City - Mapping the Urban

Invisible, Routledge• Ascher, K. 2007, The Works: Anatomy of a City, Penguin

Books.• Macaulay D. 1983, Underground, Boston Houghton

Mifflin Company.

Pictorial story cloth maps describing culture and history of the Hmong people, an Asian ethnic group in Southeast Asia.

https://www.loc.gov/resource/g8001e.ct007688c/

Nadia Amoroso, The Exposed City, Mapping the Urban Invisibles, pg 120

Mapping Mapping

Library of Congress, https://www.loc.gov/resource/g3804n.

ct001463r

Mapping

Description:

Many types of information about an area of a city can be graphically represented - noise lev-els, transportation patterns, air quality, cultural

diversity, political ridings, population density, vegetations, etc.. If this area could be defined by these characteristics, what form would it take? How could it be mapped?

Exercise 1.4: You are to create a layered map of all three as-pects of an area in Halifax: visible, hidden, and invisible. Include a 200-words companion text to describe what you’ve learned.

General process (more details are presented during class):1. Create a base map of an area or a street.2. Identify visible, hidden, and invisible elements you like

to represent3. Choose an appropriate method of representation.4. Compose your elements on paper5. Follow the composition and use tonal/texture/line

drawing to produce multiple layers of your chosen elements on paper.

Goal: Balancing between the informative measures of visual-ization and the aesthetic side of creating a map, students are to experiment with different representation methods in creating a multidimensional map (elements, space, and time). What you need: ∙ Multiple sheets of drawing paper (11x17) ∙ Wood graphite pencils (4H - 8B) ∙ Trace paper ∙ Sketchbook

Readings: No reading.

The Urban map

References:• Desimini, J. 2016, Cartographic Grounds: Projecting the

Landscape Imaginary, location, Princeton Architecture Press.

• Hutchison, Edward. 2016, Drawing for Landscape Archi-tecture: Sketch to Screen to Site, Thames & Hudson.

• Knox, P. 2012, Palimpsests: Biographies of 50 City Dis-tricts, Birkhauser.

Station centrale des aéronefs à Notre-Dame, in Le Vingtième

Siècle by Albert Robida

Mapping

Competition University, Vienna 4, 1974 Traffic system

Mapping

Leung, Monica. 2011Thesis project: Border Infrastructure,

Translating the Structure of the In-Between.

Visual Story Telling - photographs

Description:

A re-photographic survey is an attempt by a researcher to understand changes in the landscape and struc-

tures by making a contemporary photograph at the same place as a historical one and comparing the two images. The passage of time in these photographic pairs is often a reflection of human impact on the site. Re-photographic method has become a popular way for researchers, and communities throughout history to better understand change to the landscape over time.

Exercise 2.1: You are to create a series of photographs to show the “passage of time” of a location. Include a 100- words companion text to describe what you’ve learned from this exercise.

General process (more details are presented during class): 1. Research archival resources to find the best example

of useful historical images that will make the “re-pho-tographing survey” most beneficial.

2. Visit the location which has been chosen, you will photograph the area according to the historical photo-graphic composition.

3. Relate your images with a site plan.4. Print your images and present in class.

Goal: The goal of this assignment is to observe and study histor-ic photographs to expand your knowledge of photograph-ic composition. Furthermore, you will be introduced to basic digital photographic editing skills. What you need: ∙ Digital Camera ∙ A computer ∙ Multiple sheets of drawing paper (11x17) ∙ Wood graphite pencils (4H - 8B) ∙ Sketchbook

Readings: http://www.orartswatch.org/christopher-rauschen-berg-the-beauty-of-the-bucket/

Photographs -a time machine

photographs by Eugene Atget and Christopher Rauschenberg

References:• Lingwood, J 2002 Robert Smithson / Bernd & Hilla Bech-

er: Field Trips, Hopefulmonster.• Rauschenberg C. 2016, Paris Changing: Revisiting Eugene

Atget’s Paris, Princeton Architectural Press.

photos by: Christophar Rauschenberg

Paris Changing. Revisiting Eugene Atget’s Paris.

Photographs by Christopher Rauschenberg and Eugene Atget. Text by Clark Worswick,

Alison Nordstrom and Rosamond Bernier.


photos by: Lauren McCrimmon (Visual thinking - 2011)



Description:

Composition plays the most important role in how photographers express an idea. A good grasp of

identifying a clear subject and background is the key to convey that message clearly. The concept of reducing/eliminating subjects and elements from the camera frame by the movement of the body is a photographer’s first act in expressing a point of view.

Exercise 2.2: Create narrative by using a series of photo-graphs to describe “a walking experience”. Include a 100 words companion text.

General process (more details are presented during class): 1. Choose a walking path within Halifax with a signif-

icant amount of monument types or recognizable objects along the way (path across a field may not be appropriate).

2. Walk the path and take notes and sketch the signifi-cant objects in your sketchbook, e.g. a door, a lamp post, a wall, or a statue etc....

3. Study the notes/sketches, revisit the area at different times and capture the objects with your camera.

4. Beware of how to take the photographs so all images can link together to describe a narrative.

5. Layout/Compose your photographs on a page.6. Present your work in class.

Goal: The goal of this assignment is to make you aware of your decisions in photographic composition. It can guide or manipulate the observers’ view and serve the photogra-pher’s intention. What you need: ∙ Digital Camera ∙ A computer with photo editing software ∙ Multiple sheets of drawing paper (11x17) ∙ Wood graphite pencils (4H - 8B) ∙ Sketchbook ∙ access to a printer

Readings: • A review of The American, Robert Frank by Eric Kim -

http://erickimphotography.com/blog/2013/01/07/timeless-lessons-street-photographers-can-learn-from-robert-franks-the-americans/

The Approach Conveying ideas with images

photograph by Vivian Maiert, Chicago

References:• Schulz, A. 2014, Architectural Photography: Composition,

Capture, and Digital Image Processing, Rocky Nook.• Baldwin, G. 2013, Architecture in Photographs. J. Paul

Getty Museum Press.

The Approach, Ken Kam


path & texture, Yuan Yuan Li (Visual Thinking 2011)



Description:

The city streets we inhabit consist of different layers of architectural details: signage, statues, gates, the texture

of a particular wall, etc...Each street tells a story. Photo-graphs are good at showing evidence of existing conditions. The act of photography is not only a practice of recording images but also a sociological one. By recording a series of photographs at a particular area, observers can understand, in part, what are the visual contents of the area. The chal-lenge lies in the rigor of the process.

Exercise 2.3: Create a series of photographs to show the “character” of a street. Include a 100-words companion text to describe what you’ve learned from the exercise.

General process (more details are presented during class): 1. Choose a street in downtown Halifax.2. Walk the street several times and observe without a

camera.3. Take notes and do sketches on subjects that reflect the

condition and character of the street. For now con-centrate on objects not people.

4. Study the notes/sketches, revisit the area and capture with your camera.

5. Layout/Compose your photographs on a page.6. Present your work in class.

Goal: The goal of this assignment is to encourage you to be clear and use consistent photographic composition tech-niques to heighten the understanding of your study area. What you need: ∙ Digital Camera ∙ A computer ∙ Multiple sheets of drawing paper (11x17) ∙ Wood graphite pencils (4H - 8B) ∙ Sketchbook ∙ access to a printer

Readings: 1. Ken Garland, Look up, pg. 60. In “City Levels, Ireson,

Ally; Barley, Nick”.2. Two Cities, Chen Zhen pg. 64. In “City Levels, Ireson,

Ally; Barley, Nick.”3. Lisa Rapoport, Walking as reproduction, pg 22-25. In

“On Site Review”.

Due date for “Photo” assignments: Dec. 1, 2017

A Narrative Structure

abandon motel, photo: Ken Kam

References:• Mora G., Hill J. 2004 Walker Evans: The Hungry Eye,

Harry N. Abrams Inc.• Robinson, M. 2013, Urban Impressions Thee Changing

Face of New York in the 1970s by Marianne Robinson. Re-gent Press.

Street in Paris, Ken Kam

Street in Paris, Ken Kam


students’ work (Arch 2000, 2013)



Description:

Mix media of drawings and photographs can be an informative, artistic, and powerful way to represent a

site. Successful combinations often rely on the author’s care-ful observations of the site, rigor in collecting information, risk-taking, and finding pleasure during the process.

Exercise 2.4: Create a graphic representation of a site. Include a 100-words companion text of your observation about the site.

General process (more details are presented during class): 1. Choose a site in downtown Halifax.2. Visit the site - sketch and take notes.3. Find and research the topic you wish to represent.4. Use mixed media - drawings and photographs to com-

pose a graphic representation of your topic.5. Layout/Compose your drawings and photographs on

several pages.6. Present your work in class.

Goal: The goal of this assignment is to encourage and challenge yourself to represent (graphically and photographically) complex variables of data into a meaningful representation. What you need: ∙ Digital Camera ∙ A computer ∙ Multiple sheets of drawing paper (11x17) ∙ Wood graphite pencils (4H - 8B) ∙ Sketchbook ∙ access to a printer

Readings: No reading.

A Site Analysis

References:• Birkhauser, 2000. City Levels, Publishers for Architec-

ture, Basel, Boston, Berlin.• Cook, P. 2003. The City, Seen as a Garden of Ideas. The

Monacelli Press.

student’s work - street conditions 2004


AA School of Architecture Projects Review 2012 - Diploma 11 -

Stephen Marshall



Description:

Typefaces are an essential resource use by graphics designers. Graphic designers sometimes create their

own typefaces and costume lettering. More commonly, they use the vast library of existing typefaces, choosing them in response to a particular audience or situation. By using and arranging a set of different typefaces, students will learn graphic compositional principles and gain an in-depth knowledge of the graphic design process.

Exercise 3.1: Design, arrange, and compose a set of text into a documents by the following design systems:

General process (more details are presented during class): 1. Gather the companion text you have done in previous

exercises. (preferably in Word documents)2. Using the suggested design system, in your sketchbook,

draw simple thumbnail sketches of different layout and composition.

3. Transfer your thumbnail sketches into a page docu-ments using computer software - Adobe INdesign

4. Printout your work.5. Present your work in class.

Goal: The goal of this exercise is to introduce you to the textual aspects of design involving the characteristics of type, how you identify letters, words, and paragraphs, and how you read them.

What you need: ∙ computer ∙ Indesign software ∙ companion text from previous exercises ∙ sketchbook ∙ pencils

Readings:Lupton E.2004, 2010, “Text”. In Thinking with Type, Princ-eton Architecture Press pg. 87-100.

Exploration in Composition Principles through Typefaces.

References:Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. 2nd ed. New York: Princeton Architectural Press, 2010.

• Axial• Bilateral • Dilatational


AxialBilateral

Dilatational


Poster design by:Jeker, Werner

(1987)


Description:

To layout a presentation means to order all its parts into legible and effective composition. Viewers must engage

with it quickly and follow the hierarchy of presented infor-mation easily¹. Most architectural and planning presenta-tions consist of text, photographs, models, and drawings. It is important to develop a story, however simple, to engage with the viewers. The presentation must be able to commu-nicate the design ideas and all of its components to its view-ers, regardless if they are laypersons or the professionals.

Exercise 3.2: Design and layout a presentation of all your previous work from the exercises (photographs, models, and drawings).

General process (more details are presented during class): 1. Gather all the drawings, models, and photographs of

previous exercises. Transfer them into digital format.2. Editing carefully, adjust framing, and consider change

of scale of your work. 3. Create several story boarding ideas of your work.4. Transfer your story boards idea into two sheets of large

format presentation. 5. Printout your work.6. Pin up and present a one minute presentation of your

work in class.

Goal: The goal of this exercise is to introduce you to the textual aspects of design involving the characteristics of type, how we identify letters, words, and paragraphs, and how we read them.

What you need: ∙ computer ∙ Indesign, Illustrator software ∙ graphics from previous exercises ∙ sketchbook ∙ pencils

Readings:No reading.

Composition Techniques -p r e s e n t a t i o n s , l a yo u t a n d l e t t e r i n g

Architecture master’s thesis presentationMark Erickson

Composition of word and image Composition of word and image

Architecture Master Thesis Defense Summer 2017


Description:

A portfolio is a collection of design work that demon-strates creativity and artistic skill. It is an organized, purposeful collection of work that displays knowl-

edge, understanding, skills, accomplishments, interests, and achievements over a specified time. A good understanding of basic compositional principles and clearly define your graphic intentions can help communicate a clear and con-cise message. There are many methods of graphic design layout principles, in the next two weeks we will look at vari-ations of Grid Structure Layout Principle.

Exercise 3.3 - 3.4 & General process (more details will be presented during class): Develop a hierarchy in distinguishing your work and design a personal portfolio for printout (11x17). In most cases, your work are divided in to different projects. Analyze the structure of the content (main title, subtitle, photographs, drawings, text), choose a layout style, create a visual hierarchy, and develop two variations of one layout design based on the following systems:

Goal: The goal of this assignment is to help students to the understand the principle of hierarchy in graphic presenta-tions. What you need: ∙ a list of tools and material will be presented during class.

Readings:Bierut M., 2007 “No. 4 - How to become famous.” & “No. 6 Histories in the Making”. In Seventy-Nine short essays on Design.

Narratives and graphic structures

• Grid• Modular• Transitional

The GRID System

Typology of Chi-nese Restaurants in Nova Scotia. Truro, Hwy 103.

Typology of Chinese ResTauRanTs in nova sCoTia


The Modular System

The Transitional System



Typology of Chinese ResTauRanTs in nova sCoTia Typology of Chinese ResTauRanTs in nova sCoTia


References:• Lupton E. 2011, Graphic Design Thinking: Beyond Brainstro-

ming, Princeton Architectural Press.• Tondreau B. 2009, Layout Essentials, Rockport Publishers.


portfolio, Holy Simon. Master of Architecture

(2012)


portfolio, Holy Simon. Master of Architecture

(2012)

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