DECONSTRUCTING LANDSCAPE VIBRANT MATERIALS AND DYNAMIC SPACE

Transcription

1 Gerco de Ruitjter. BAUMSCHULE DECONSTRUCTING LANDSCAPE VIBRANT MATERIALS AND DYNAMIC SPACE LARCH 6920 ASSOCIATE PROFESSOR KRISTI CHERAMIE 224 Knowlton Hall office hours: MW , or by appointment STUDIO OVERVIEW We know nothing about a body until we know what it can do, in other words, what its affects are, how they can or cannot enter into composition with other affects, with the affects of another body,... to destroy that body or to be destroyed by it,... to exchange actions and passions with it or to join with in composing a more powerful body. from Thousand Plateaus by Deleuze and Guttari This semester we will explore the landscape by way of m a t e r i a l s. We will investigate how a collection of materials might come to be located in a particular place and what parameters or conditions hold these materials in position, how these materials might constitute a landscape, and where opportunity might exist to orchestrate (and, thus, design) how and when those materials convene to form space. Rather than reading the landscape as a series of complete or finished objects (tree, glade, park, city), we will instead read the landscape as a process composed of live material formed and continuously reformed by the mutually constitutive forces of ecology, geology and culture. You will be challenged to conceptualize landscape-beyond-program, as a set of materials that is (1) constantly in flux, (2) defined by particular parts capable of influencing each other, and (3) given to certain formal and behavioral properties based on the order of or relationship between those parts. This studio will make the argument that to effectively design (here, we define landscape architecture as the intentional structuring of a landscape s component parts), the landscape must first be understood as a collection of materials embedded with particular histories, cycles, processes, potentials, and limits. LEARNING OBJECTIVES - Develop a stance on landscape materials through site analysis, observation, and design. - Apply a coherent design process to complex site design projects. - Design at the small/medium scale utilizing two and three dimensional analog/digital representation techniques. - Develop site analysis techniques and apply them to complex projects focusing on dynamic systems. - Design with multiple program elements within individual design strategies. - Apply knowledge from researched case studies, materials, and technologies to innovative site design proposals.

2 STUDIO FRAMEWORK: POINTS OF DEPARTURE Libyan pivot irrigation in Al Kufrah SOUTHEAST CYRENAICA The physical landscape, including the vegetation cover, is the record of processes and the whole of the evidence for its evolution is contained in the landscape itself. Wooldridge and Goldring, 1953 The following topics will guide our work across three projects this semester, providing points of departure for readings, discussions, field work and design investigations. PROJECT ONE: MATERIAL The practice of landscape architecture has little with which to work in the absence of material. Yet the material qualities of landscape are often sidelined in favor imagining landscape as a curated collection of steady-state objects (tree, rock, river). Instead, we will consider landscape as a set of volatile, fluctuating materials (sediment, water, etc) that can be ushered into various configurations and gradually manipulated over periods of time. PROJECT TWO: MATERIAL CHANGE To that end, the question of how materials change over time will also be ever-present in our investigations. We will consider change an actant not unlike the designer an active force in the shaping of space, place (in our case, landscape). Identifying types of change (e.g. slow, fast, punctuated, cyclical, gradual) will facilitate our ability to visualize the capacity of materials to play multiple roles in the landscape. PROJECT THREE: NATURE, CITY and INFRASTUCTURE Our design work will challenge the seemingly singular and distinct notions of nature, city and infrastructure. As we embrace the new geologic epoch, the Anthropocene, it has become increasingly clear that we do not act or move along clearly delineated pathways of human and nonhuman, biologic and geologic, inside and outside, self and other. We operate, instead, within complex interstitial field[s] of nonpersonal, ahuman forces, flows, tendencies, and trajectories. (Ellsworth and Kruse, Making the Geologic Now) To that end, our design work will aim to construe a sequence of new relationships within an exisiting site in Columbus.

3 Judy Natal FUTURE PERFECT STUDIO AND UNIVERSITY POLICIES Meetings & Attendance: LA 7796 will meet three times a week for a period of four hours per meeting, this schedule will require regular out of class effort to complete assignments. Students are required to attend all class meetings and activities. Any medical absence must be documented with the school of architecture prior to the start of the scheduled class meeting. Any absence related to other course commitments/activities must be approved by LA 6910 instructor given no less than one-week notice. Late Work: No late work will be accepted unless an extension is granted by the instructor or the student has an excused absence. In the event of an excused absence all late work is due within 24 hours of the students return to school/class activities. Evaluation: Final grades are based on each student s process, performance, participation, craft, and initiative as demonstrated to the instructor during regular class meetings, assignments, and exercises. Work Distribution: Grades will be returned at the conclusion of each project and weighted according to the following scale: Project 1 20% Project 2 30% Project 3 40% Initiative and Effort 10% Grading: Grades will be issued based on two criteria, conceptual devlopment and execution. The following metric will be used to establish grades: A B C D F Distinguished mastery of material, exceeding instructor expectations at all times Good mastery of course material, occassionally exceeding instructor expectations Acceptable matery of course material, meeting all deadlines and deliveables Minimally acceptable achievement Failing Incomplete Grades: Students will only be given an Incomplete (I) if, for reasons beyond their control, they are unable to regularly participate in class or complete projects as scheduled. All circumstances/reasons must be documented and receive approval from course instructor, section head, and academic advisor prior to the last scheduled class meeting. If a student is given an incomplete they must complete all work, reviews, and/or presentations within the terms determined by the course instructor.

4 Project Archiving: Faculty reserve the right to archive student work for the purposes of accreditation, display, and/or future teaching use. All students are to provide the instructor with a digital record (CD/DVD, Dropbox or GoogleDrive links) of their project(s) at the end of the term. Files should be labeled accordingly: term of course_course number_students name(last name_first name)_assignment_image sequence number. ex. 14_SP_7796_Cheramie_Kristi_Project1.1_01 Course Expenses: Students are expected to cover cost of all necessary course expenses including modeling materials and printing costs. Syllabus Changes: Faculty reserve the right to modify, alter, delete, add, or otherwise change the contents of this syllabus at any time during the quarter upon proper notification to all students enrolled in the course. Office Hours: Regular office hours are scheduled throughout the quarter so that students may consult with the instructor about specific questions and/or issues they have related to course work, academic performance, professional advice, etc. It is appreciated, although not required, that students sign-up for individual meetings ahead of time. If a student simply stops in they should be prepared to defer to those students with prearranged meeting times. Academic Misconduct: The Student Code of Conduct defines Academic Misconduct as: Any activity that tends to compromise the academic integrity of the university, or subvert the educational process. All students are required to review the code and understand the implications of a code violation. If there is any suspicion of academic misconduct, the faculty member/instructor will report the alleged violation to the Section Head and the Committee on Academic Misconduct for investigation and any further action. Other Misconduct includes damage to, alteration of or other improper use of University Equipment and Property. The facilities of Knowlton Hall are for your use, but they are also for the use of students who come after you. Please take appropriate care in your use of the facilities. Sexual Harassment: O.S.U. s Sexual Harassment policy, which applies to all faculty, staff, and students, includes lewd remarks and inappropriate comments made in the studio environment, classroom, and computer labs as well as the display of inappropriate sexually oriented materials in a location where others can see it. Students can file a complaint by contacting Student Judicial Affairs at Sanctions include reprimand, suspension, and dismissal from the University. Drew Sanborn PORTSMOUTH SALT PILES

5 Students with Disabilities: If a student requires accommodation for a disability, he or she should immediately arrange an appointment with the professors and the Office for Disability Services. At the appointment, the professors, disability counselors, and student can discuss the course format, anticipate needs and decide upon accommodations. Professors rely on the Office for Disability Services for assistance in verifying the need for accommodations and developing accommodation strategies. Studio Behavior: Students must work in the studio, because of the collaborative nature of research and the shared development of techniques. Students are responsible for keeping their areas clean, their floors free from obstructions, and all studio furniture in good condition and original location. All presentation materials must be removed from review spaces following reviews and all studio materials must be removed from the building at the close of every quarter. Students may, however, store material in their credenzas over winter and spring breaks. Studios are inspected on the last day of final exams negligent students are subject to grade withholding and maintenance costs. Also note: The following items are prohibited in Knowlton Hall: non-ksa furniture, liquor, weapons, bicycles, skateboards, roller blades, and pets. The following tools are prohibited in Knowlton Hall: spray paints, foam cutter wands, welding devices, heat guns, and any flame or gaseous liquid device. The following safety compliances must be observed: electrical power cords cannot be connected in a series or extend over traffic areas; fire extinguishers must remain accessible and in full view; access to stairwells, corridors, and aisles must maintain a 44 clear width and handrails must be unobstructed. Building surfaces cannot be marked, anchored to, or penetrated. Installations may not occur in any part of the building except by permission of the KSA Building Coordinator. Power tools are restricted to the shop except when permission is granted by the KSA Building Coordinator. Loud noise is forbidden. Graffiti and vandalism are grounds for disciplinary action. Student Safety: Since Knowlton Hall is a 24/7 facility for our students and faculty, it is imperative that all safety procedures be followed. With regard to maintaining secured access after normal business hours, do not prop doors open. Maintain and secure your personal items in lockable storage or by other approved means. Work and study in a responsible manner so as not to create or provide potential fire/safety hazards in the building or its environs. If you observe such conditions, please report them to the building coordinator or the Director s Office. Student Resources: Other resources for students can be found at: KEY TEXTS Frank Ahnert, Introduction to Geomorphology (1998) Jane Bennett,Vibrant Matter (2010). James Corner, The Landscape Urbanism Reader (2006) William Cronon, Uncommon Ground (1992) Elizabeth Ellsworth and Jamie Kruse, Making the Geologic Now (2012) *available for digital download Richard Forman, Landscape Ecology (1986) Richard Fortey, Earth (2005) John Brinckerhoff Jackson, in Landscape in Sight : Looking at America (1997), Helen Lefkowitz Horowitz (ed). Geoff Manaugh (ed), Landscape Futures (2013) Emma Marris, The Rambunctious Garden (2011) William Moorish, Civilizing Terrains (1996) Timothy Morton, The Ecological Thought (2012) and Hyperobjects (2013) Moshen Mostafavi (ed), Ecological Urbanism (2010) May Theilgaard Watts, Reading the Landscape of America (1957) ** additional readings will be distributed digitally throughout the semester.