NEW YORK INSTITUTE OF TECHNOLOGY

School of Architecture + Design

Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

The Fourth Year Design Studio (Design V and VI) will consist of two
separate semester long projects. In the fall semester students
complete Design V, the Community Design Studio. NYIT’s
Community Design Studio has been a tradition for more than two
decades. The aim of the Studio is to introduce students of
Architecture to broad planning and urban design strategies that are
demonstrable at a human scale. At the same time, we offer our
collective efforts to communities and public planning agencies who seek
bold ideas and creative vision. Hence, the Community Design Studio is
run as a competition of ideas among teams of students.

The spring semester Design VI is a comprehensive building design

studio. It is the last studio before students begin their thesis work.
During the semester long project, students produce a design
developed to a high degree of completeness and formal resolution.
Emphasis is placed on design issues such as site, context, structure,
building form, sustainability and materiality.

The fourth year design program is a bridge from the previous studio
curriculum to the thesis program. It provides students with an
opportunity to confront issues related to the design of a single
building as well as issues of neighborhood and open space design. During
the fall Community Design Studio interaction with the Master’s
program in Urban and Regional Design will provide insight to the
profession of Urban Design.

The Design Curriculum in Perspective:

It is important throughout your education as an architect to have an

overview of the curriculum. The studio is the place where a
synthesis of previous course work in technology, structure, city
planning, history and theory can occur. The Fourth Year Studio is also
the laboratory for developing innovative design proposals that are
cognizant of the information and tools acquired during the previous
three years of study. Through design, all of these skills are brought to
bear on a single project site.

The evolution of Pz. della Santissima Annunziata,

Florence, 1427-1629

Design V – Arch 401 Page 1

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John Di Domenico & Professor Janet Fink

Let’s spend a few minutes to put the design curriculum into perspective:

It is assumed that your first year Fundamentals work is as critical to this design studio as your last year’s work. In the Fundamentals
Program, basic principles of architecture were presented along with graphic techniques to communicate ideas about the making of space.
In the Second Year design program the relationship of form, function and structure in the design of buildings is stressed. These
issues not only pertain to form but they also are inherent to the surrounding site of a building, whether it be an open “natural
site” or an “urban site”. Much as a building is seen as a “structure” in the broad sense of the term -- as a set of integrated and
coordinated elements -- so too, a site has a “structure”: a Morphology.

Hence, the concept of an ordered building structure, as learned in the second year design program may be applied to the structure, or
Morphology, of a site or neighborhood. The formal, functional and technological context can be seen as a latent structure into which a
new structure or structures can be placed to reinforce, enhance, clarify, complete, or transform a place. Thus, once the existing
conditions are observed, analyzed and understood, one of the decisions that must be made among all those that make up the design
“concept” or “parti” is how to shape the relationship between building and site. In this way the process of identifying order in a building
may be applied to defining an order for a network of buildings and open spaces.

To help identify the “latent” structure of an environment, certain analytical “tools” are used. In the Third Year design program, the
methodological development of a process of architectural analysis has equipped you with another resource to consciously draw upon
to assist your creative intuitions. The process of developing analytical studies of circulation, public/private, textural/figural and other
examinations of cultural/social phenomenon introduced in the third year design program may be applied to the analysis of the urban
landscape in Design V and the comprehensive building design in Design VI.

The Fourth Year, as a threshold to the thesis program, is dedicated to urban design in Design V and comprehensive building design in
Design VI. Collectively, the two design studios examine the scale of design which extends from an entire neighborhood to a single building.
The study of design ideas at such a range of scales and complexity should reflect your academic maturity and desire for intellectual
challenge. The Fourth Year establishes the breadth of design investigation, from the neighborhood scale to the comprehensive building
design that will be required in Thesis.

The National Architectural Accrediting Board (NAAB) defines criteria for accreditation in three “Realms.” Each represents a distinct
component of professional education. The Realms include Critical Thinking and Representation, Integrated Building Practices and
Leadership and Practice. Noted below are the specific criteria that are to be addressed in Arch 401, Design V. The assessment of the
criteria will be in the presentation of the team assignments noted under the section: Studio Requirements in this course booklet.

Realm A: Critical Thinking and Representation

A.5 Investigative Skills: Ability to gather, assess, record, apply and comparatively evaluate relevant information within
the architectural coursework and design processes.

Realm C: Leadership and Practice

C.1 Collaboration: Ability to work in collaboration with others and in multidisciplinary teams to successfully complete
design projects.

C.3 Client Role in Architecture: Understanding of the responsibility of the architect to elicit, understand and reconcile
the needs of the client, owner, user groups, and the public and community domains.

Design V – Arch 401 Page 2

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

St. Peter’s, late 16th century. St. Peter’s in plan, by Michelangelo, 16th century. St. Peter’s in plan, by Letarouilly, early 19th century.

Historical Perspective on Making Cities:

Aside from a historical involvement with utopian thinking and isolated instances of designing new cities or major additions to existing
cities, architects have generally only been involved in planning portions of a city. These projects may take decades to complete and may
also involve underutilized areas of cities with newfound potential.

Often, a project initiated by one design group may evolve through a slow process and years later be completed by a subsequent design
team. The Louvre in Paris and St. Peters in Rome are canonical examples both of which were constructed by several architects with
multiple plans over a period of more than a century. Other more recent examples of several architects contributing to an organized
urban plan include Battery Park City, New Berlin and more recently, the World Trade Center site.

These examples, among others that you will become familiar with from your City Planning studies and your on-going involvement with
precedent collection and analysis in the studio, demonstrate the architect’s role in the dynamic transformation of the city. In many of
these cases, the architect had a plan that recognized existing conditions—an acknowledgement that the city and its architecture can
proceed in an evolutionary way over time. It is possible for architecture to participate in, rather than control, urban dynamics. Such
architecture involves the same kind of idea or “parti” which builds relationships between form, space and social and cultural
conditions. In this way the architect is a force in both planning and urban design. In Design V, issues of planning, urban design,
architecture and landscape are within the scope of your responsibility.

Community Design Studio

The Community Design Studio is a unique vehicle able to influence the future development of a community. Unlike previous design
studios, here you will not only visit a site but also speak with planners and activists involved in shaping land use policy in Lower
Manhattan. Urban designers and planners from the Hudson Square Business Improvement District (BID), Community Board 2 and the
Port Authority will meet with us to present their ideas for the future of Lower Manhattan. Following the site visit on Tuesday,
September 21st, an all-campus meeting will be held at a location in the community to be announced.

The planners, urban designers and community representatives will also join us at the final design review where you will have an
opportunity to publicly present your ideas for Lower Manhattan. They will be joined by invited guests from the professional architecture
and landscape architecture fields who will select several exemplary proposals for recognition.

However, the final design review format will differ significantly from your previous design studios; you will not verbally present your
project. As a design competition, all team’s final boards shall be reviewed in private by the jury who will subsequently announce their
selections to students and faculty.

Design V – Arch 401 Page 3

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

The Community Design Subject Area: Lower Manhattan West

The Lower West Side of Manhattan has changed dramatically over the past 4
decades. An area once occupied by warehouses and industrial uses it is now
comprised primarily of two communities referred to as Hudson Square, south
of Houston Street and Tribeca, the triangle below Canal. Canal Street bisects
the neighborhoods as it moves across Manhattan island west to east from the
Holland Tunnel to the Manhattan Bridge.

At first glance the communities appear similar. Look closer, however, and their
differences become apparent. Tribeca has transformed into a community of
residents, many living in large lofts. A number of popular upscale restaurants
are at street level. In Hudson Square, the large masonry buildings are more
View east on Canal Street illustrates the impact likely to be commercial office spaces occupied by design and media firms.
of Holland Tunnel Traffic on the community. Several new residential buildings have been constructed following a recent
zoning change west of Hudson St. and north of Canal Street.

Both neighborhoods now have uses very different from the manufacturing and
warehousing activities once there. As such there are limited community
resources, recreational infrastructure and green space. As this area continues
to transform it faces many challenges. Although the building stock has been
transformed there is a lack of green space and access to the water’s edge is
still very limited. There are several sites that are under consideration for
development and others that may be re-visioned.

The challenge for the studio is to investigate the area, identify the opportunities
and constraints and develop a program for making a more sustainable
community. To accomplish this it will be necessary to think about intervention at
different scales. This will involve looking at the broad influences that are
exerted on Hudson Square and Tribeca from the surrounding area and region.
For example, think of how Canal Street and the Holland Tunnel influence the
physical and social character. Or, how does the Hudson River Park has the
potential to provide recreational opportunities to residents for several miles up
and down the Hudson River.

To best understand these broad influences it will be necessary to examine a

large area of Lower Manhattan which we will refer to as the Study Area
(highlighted with a green line on page 5.) When your investigation is complete
your design Team will want to make recommendations for change in the area.
This is referred to in the course outline as the Study Area Master Plan.

Once aware of the influences over a large area the scale of the investigation
The water’s edge in Lower Manhattan has will shift to a much smaller zone for intervention. This zone, the Project Area,
been designated a high risk - flooding will be the focus of the design Team’s study (area shown with a yellow line on
hurricane evacuation zone. page 5). It is within this area that more specific open space or building design
From On the Water: Palisade Bay, by Guy proposals will be proposed. A more detailed description of these areas and a
Nordenson, et al. map follow.

Design V – Arch 401 Page 4

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

Study Area:
This semester you will be involved in design at different scales. The Study Area is the large scale neighborhood that is the subject of
our investigation. Initially, your focus will be on the neighborhoods of Hudson Square and Tribeca and the road that bisects them,
Canal Street. The study of Canal Street is important because its influence as a thoroughfare transcends these two neighborhoods as
it provides a vehicular and truck link from Brooklyn through Manhattan to New Jersey.

The Study Area investigation and analysis will include graphic mapping of the physical and social structure of these two communities
and the road that bisects them. The analysis should record land use, transportation, and the potential impact of proposed development.
Following their Study Area analysis each team will prepare a Study Area Master Plan to address the following:

- Recommended infrastructure improvements.

- Open space recommendations for streetscape and parks. Recreational proposals of particular interest should be
neighborhood access to the Hudson River Park and the water’s edge.
- Land use and proposed building massing indicating the proposed character of areas that may be developed in the
Study Area.
- Transportation improvements that may include public transit or proposals for traffic and pedestrian networks.

Design V – Arch 401 Page 5

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

Recent housing construction is the Canal Park at West Street

result of new zoning
Project Area:

The more specific area where intervention is proposed is the Project Area. After the investigation and “broad stroke” for the design
of the Study Area, each team will focus their efforts on one (or more) “sites” within the zone defined as the Project Area. It is within this
area that a detailed program should be developed along with the conceptual design of open space and any buildings. Three general locations
within the Project Area have been identified for intervention.

1) Holland Tunnel Entry:

This area around the portal to the tunnel is currently dedicated to vehicles entering the tunnel. It is a large open space that has
the potential to be more multi-functional. Can it become a more valuable and user-friendly resource for the surrounding
community?

2) Improved Connectivity to the Waterfront:

The water’s edge has been developed with the construction of the Hudson River Park, however, connectivity to the park and
water’s edge remains somewhat tenuous. Consider ways to improve the “linkage” which may be as pragmatic as suggesting
areas to improve pedestrian access or more dramatic with plans to reconfigure the relationship of the land to the water’s edge.

3) Community Development and Greening:

Within the Project Area there are several vacant sites and underutilized structures. Evaluate these locations and consider how
they may be developed or incorporated in a network of neighborhood open spaces that would make movement through the
community more comfortable.

Design Parameters:

Each team will prepare a Study Area Master Plan with their conceptual strategies. Then, a Project Area Urban Design Plan will define
more specifically the key aspects of the design for the area. The Project Area Urban Design Plan will be based on a program of
activities prepared by the team. Although the general size and volume of the program will be the same, the specifics will vary from team
to team. Invention of program, based on the investigative studies early in the semester, is encouraged. Some of the program possibilities
include:
- Public Open Space/Performance Space(s)
- Residential
- Hotel
- Cultural/Institutional/Visual Arts/Media
- Recreational/Health
- Entertainment/Retail
- Environmental Remediation
- Education
Design V – Arch 401 Page 6
NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

Studio Process

Students are evaluated on the process as well as the products of their project.
Several graded reviews will mark the student's progress over the semester.
Because the studio is recognized as the setting for discourse and the
exchange of ideas, students are expected to attend each class. Studio
participation is necessary to developing an independent, self-critical means of
working, both in preparation for the Thesis year as well as your entry into the
profession. The faculty is under no obligation to review a student's work if there
is no indication that the work has advanced since the previous meeting. On
such an occasion, the student will be recorded as absent from the studio. A
student will be automatically withdrawn from the course following the third
unexcused studio absence. The work of the team is evaluated in class, during
desk crits, pin-ups, and interim and final reviews, as a whole; however students
are graded individually on their work. Each student shall submit a portfolio of
the work of the semester including photocopy reductions and digital files of
all drawings, model photographs and development sketches no later than
December 14, 2010.

Teams and Design Collaboration

The Community Design Studio requires students to work in teams and

collaborate on their design. The teams may have a maximum of 3 students
each. The team will be responsible for mid-semester and final presentations.
These presentations will include a Study Area Master Plan for Lower
Manhattan West and a more detailed Project Area Urban Design Plan that
includes proposals for improving open space, access to the Hudson River Park
and waterfront and perhaps new development on vacant and “soft” sites. For
the Project Area Plan, each team is responsible for an Illustrative Site Plan and
Section. The purpose of the section is to highlight the open space design
and illustrate the relationship between open space, proposed building
massing and connectivity to the water. In addition, each team member is
responsible for the architectural and/or open space design of a critical element
of their Project Area Plan.

Studio Requirements

Initially, each studio class will organize teams (varied in size to match the
analysis workload) to observe /collect / document / analyze the study area.
Students should evaluate the background material assembled for the studio and
incorporate it accordingly in their work, providing appropriate credit where due.

Edge conditions where the city meets the water, The material will be reviewed on September 28th and provided on CD for
from On the Water: Palisade Bay, by Guy Nordenson, distribution on both campuses.
et al.

Design V – Arch 401 Page 7

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

An Exploration at Different Scales

I. Site Investigation and Analysis: (A5.1)

A. Graphic mapping and investigation/analysis of thePhysical/Structure of the Lower Manhattan Study Area.
1). Context plan of the Hudson Square/Tribeca area in relation to the five (5) New York City Boroughs/New
Jersey and the region.
2). Figure ground of study area.
3). Separate mapping of transportation, parks and recreation areas, community resources, subway and
bus stops, general land use and visual character.
4). Analysis of bulk and program of existing proposals.

B. Graphic Mapping and Analysis of Physical and Social Structure of the area.
1). Base Line Plan at 1"=200' showing buildings, sidewalk, parks, roads, etc.
2). Land use plan of the Hudson Sqaure/Tribeca Study Area.

C. Photographic documentation.
1). The photos should convey the "character" of the various areas within the area and a key plan should locate the
photos.

D. Visual history of the area.

1). Collect historical facts / data about urban morphology, landmarks, population growth and history (settlement
patterns, ethnic makeup, social history, etc.) and present in graphic form. All documentation must be
prepared for digital submission but should be presented on boards.

II. Design Agenda

The level of investigation should become progressively more focused during the course of the semester. Thus as the design moves
from the scale of the community Study Area, to the scale of a Project Area and then to an architectural scale, the level of design
detail must also be enhanced. This is why the process is referred to as design development, not enlargement.

Due: September 28, 2010

- Precedent Study and Lower Manhattan Analysis – Study Area
Each student is to locate and document in plan or axonometric one scaled plan of a significant historical or
contemporary community that has an edge on a waterway, or section of a city on the water that represents
some idea, intention or vision that is related to the design problem.
Analysis of Lower Manhattan Study Area presented.

Due: October 19, 2010 (C.1)

- Study Area Master Plan
Graphic indication of a formal plan with overall intentions for building/transportation and open space. (scale to
be determined) This is the Study Area Master Plan and may include proposals for infrastructure such as
transportation and green space.

-Project Area Urban Design Plan for Specific Sites 1"=200'

Graphic indication of proposed areas of intervention with program indicated. Each team to identify their project
area for a more detailed intervention. This could be the Holland Tunnel entry area or other location within
the Project Area selected by the team as critical for their plan. Define massing and open space for proposed
development.
Design V – Arch 401 Page 8
NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

Due: November 9, 2010 (C.1)

- Presentation of Program for the Project Area.
3D Color coded drawing (or physical model) that illustrates the program on the selected Project Area sites.

- Presentation of Project Area Plan 1"=100.

Project Area Sections (minimum: 2) 1"=100.
Project Area Model/3-D.
Rendered Views of Project Area.

Due: December 7, 2010 (C.3)

- Final Presentation to Community and Guests
Study Area Master Plan
Project Area Urban Design Plan
Site and sectional drawings of selected Study Area. 1” = 20’
Design of architectural elements and open space critical to the success of the Project Area Plan. 1/32” = 1’-0”
3D digital or physical models.
Rendered views of Project Area.

Design V – Arch 401 Page 9

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators Professor John di Domenico & Professor Janet Fink

Schedule
1 Sept. 10 F Teams Formed. Analysis and Precedent Study reviewed in Studio
2 Sept. 14 T
3 Sept. 17 F
4 Sept. 21 T Site Visit (2 pm) and Meeting with Community Representatives
5 Sept. 24 F
6 Sept. 28 T Presentation: Study Area Analysis and Precedent Analysis
7 Oct. 01 F Presenter: Rob Lane; Architect and Urban Designer, RPA
8 Oct. 05 T Pin-up: Study Area Plan

9 Oct. 08 F

Oct. 09 S Open House New York / Tours of Hudson Square

10 Oct. 12 T Presenter: Karin Bacon; Urbanist, Event Planner
11 Oct. 15 F
12 Oct. 19 T Mid-Semester Presentation: Study Area Plan, Proposal for Project Areas, Massing and Open
Space
13 Oct. 22 F
14 Oct. 26 T Pin-up: Program Review with Massing and Open Space Plan
15 Oct. 29 F
16 Nov. 02 T
17 Nov. 05 F
18 Nov. 09 T Pin-up: Project Area Plan, Section and 3-D Image/Model
19 Nov. 12 F
20 Nov. 16 T
21 Nov. 19 F
22 Nov. 23 T
Nov. 26 F No Class
23 Nov. 30 T
24 Dec. 03 F
25 Dec. 07 T Final Presentation (Location to be announced)
26 Dec. 10 F Team / Individual Evaluations
27 Dec. 14 T Portfolios Due (8 1/2 “ x 11” and Digital Files)

Design V – Arch 401 Page 10

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators: Professor John di Domenico & Professor Janet Fink

Bibliography

Bacon, Edmund. Design of Cities. New York: Viking Press, 1977.

Berger, Alan. Drosscape: Wasting Land in Urban America. New York: Princeton Architectural Press, 2006.

Farr, Douglas. Sustainable Urbanism: Urban Design with Nature. Hoboken: Wiley, 2007.

Jacobs, Allan B. Great Streets. Cambridge: MIT Press, 1995.

Jacobs, Jane. The Death and Life of Great American Cities. New York: Random House, 1971. (in particular, Part Two: “The
Conditions ofd Diversity,” pp. 143-222).

Koetter, Fred and Rowe Colin. Collage City. Cambridge: MIT Press, 1978.

Lynch, Kevin. Image of the City. Cambridge: MIT Press, 1960.

Maas, Winy and John Thackara. Green Dream. Rotterdamn: NAi Publishers, 2010.

Mostafavi, Mohen and Gareth Doherty. Ecological Urbanism. Baden: Lars Müller Publishers, 2010.

Nordenson, Guy, Catherine Seavitt, and Adam Yarinsky. On the Water: Palisade Bay. New York: The Museum of Modern
Art, 2010.

Rossi, Aldo. The Architecture of the City. Cambridge: MIT Press, 1984.

Shane, David G. Recombinant Urbanism: Conceptual Modeling in Architecture, Urban Design and City Theory. Hoboken:
John Wiley & Sons, 2005.

Tschumi, Bernard. Event Cities. Cambridge: MIT Press 1994.

Venturi, Robert, Steven Izenour and Denise Scott Brown. Learning from Las Vegas. Cambridge: MIT Press, 1977.

Design V – Arch 401 Page 11

NEW YORK INSTITUTE OF TECHNOLOGY
School of Architecture + Design
Design V – ARCH 401
Community Design Studio, Fall 2010
Dean Judith DiMaio
Coordinators Professor John di Domenico & Professor Janet Fink

The following electronic references are for information about the Study Area and Sustainable Communities:

“Canal Park.” New York City Department of Parks & Recreation. 2003.
<http://www.nycgovparks.org/sub_about/parks_divisions/capital/pd_proj_month_mar_03.html>

“Canal Street Park.” Case Studies. Sam Schwartz Engineering.

< http://www.samschwartz.com/CaseStudies/CanalStreetPark.aspx>

Gorsche, Jennifer K. “Planning for Overflow on Canal Street”. Aug 2, 2010. The
Architects Newspaper. <http://www.archpaper.com/e-board_rev.asp?News_ID=4715>

Hudson River Park. <http://www.hudsonriverpark.org/>

“Hudson River Park.” PlanNYC. August 12,2009. <http://www.plannyc.org/taxonomy/term/719>

“Neighborhood at Risk – Soho Extension. Historic District Council. <http://www.hdc.org/neighborhoodatriskSoHoExt.htm>

“North Tribeca Rezoning.” NYC Department of City Planning. June 2010.

< http://www.nyc.gov/html/dcp/html/north_tribeca/index.shtml>

Soho Alliance. <http://www.sohoalliance.org/>

“Smoothing Out Canal Street.” Lower Manhattan Construction Command Center.

Oct 6, 2003. <http://www.lowermanhattan.info/news/smoothing_out_canal_street_99774.aspx>

“Tribeca Historic Districts and Proposed Extensions.” Historic Districts Council. <http://www.hdc.org/boundariestbc.htm>

Sustainable Communities Network

http://www.sustainable.org

PlanNYC 2030
http://www.nyc.gov/html/planyc2030

American Society of Landscape Architects

Sustainable Design: http://www.asla.org/ContentDetail.aspx?id=23122
Livable Communities: http://www.asla.org/ContentDetail.aspx?id=23268

American Planning Association

http://www.planning.org/nationalcenters/green/

US Environmental Protection Agency (EPA)

http://www.epa.gov/region2/sustainability/greencommunities/
Design V – Arch 401 Page 12
Course information

Parsons The New School For Design

School of Design Strategies
Fall 2013 – UURB 3031-City Studio; CRN
Thursday (4:50 - 8:30 pm)
Faculty: Nina Milkova Ilieva

Course Description:

The Urban Core Project Studio ( 3 credits) are interdisciplinary, collaborative project driven
courses for advanced undergraduate students that function as capstone experience
. These courses are capped at 18 students, and an take variety of forms including but not
limited to civic engagement projects, entrepreneurial or consulting projects, design
projects, and interdisciplinary research projects. These are hand-on courses whose main
pedagogical vehicle is the project, and the main engagement component to them. The
outcomes of these courses will be assessed by the standards of project-based learning.
The main objective of the Urban Core Projects is to bring students from a variety of
divisions together trough team work and collaboration.

Course Outline:

The main goal of the course is to serve as an educational vehicle on how to effectively get
engage and make a positive change in our current physical, social and ecological urban
environment. The unique cross-disciplinary approach developed in this class, will enable
the students to observe and analyze the complexity of our urban life in more holistic way.
This understanding is an important step in developing an innovative, environmentally
and socially responsible urban transformation.

The students will not only learn the traditional methods and tools for developing their
urban interventions, such as physical scale models, drawings, 3D images and movies, but
also will learn how to directly engage in negotiations between the government, investors
and community, developing innovative business models and marketing strategies, which
will enable them to get support for their visions, from different profit and non for profit
organizations.
Case study 2: Brooklyn -Bed Stuy:

The case study will focus on the one-mile stretch, along Fulton Street from Bedford
Avenue to Troy Avenue, providing residents with space to live, work, and shop. Critical to
this effort is the enhancement of physical conditions along the Bed-Stuy Gateway
Business Improvement District.
Cities are engaged in radical transformations: This transformations applies both to
morphology ( form) and to their metabolism. This entails also for example new ways of
sharing collective space and methods of governance. It requires a chronotypical approach,
blending the spatial and temporal dimensions and, for example, establishing temporal
projects for spaces.
The city by nature is a place that maximizes interactions but also a place for separation. An
attractive city or neighborhoods is an organized space where people meet and
communicate. The question of urban intensity and community is essential. The Our
lifestyle has been changed , but the making of city , the materiality of the city, has not
always adapted to the new life cycle. Another observation is that buildings are used
almost mono -functionally, as are districts and public spaces. Time is an essential
dimension as a key for to understanding the dysfunctions of the city and as lever in the
context of sustainable development. We are looking at the city with multiple timeframes.
The city should also be thought of as a place that is not only used by residents. The city is
made just as much as for people passing through: workers, visitors, users. What we do
when activities start sharing the same spaces and the same building. The spatial and
temporal boundaries of these activities needs to be established.
Our project is in response to the effort of the Comprehensive Neighborhood Economic
Development (CNED), and the City’s economic development agencies, around a shared
goal of building and revitalizing the residential and business communities of Bedford-
Stuyvesant. CNED is leading efforts to increase resident self-sufficiency and improve
commercial markets to meet local retail needs, increase consumer traffic and support the
attraction of new and diverse businesses to the neighborhood.
“Bedford-Stuyvesant, more commonly known as Bed-Stuy, is a neighborhood in
transition. Not long ago it was known as the largest ghetto in the US. Mary H. Monomi
opened her 1973 book on Bed-Stuy asking: “Why would anyone want to live there?”
Today it would be interesting to ask the opposite question: “Why do so many people want
to live there?” Although the neighborhood can no longer be reduced to that identity, the
ghetto is still present in Bed-Stuy. Almost half of the households live with less than
$25,000 a year. Crime continues to be well above the city average, abandoned buildings
and vacant lots are still part of the landscape, and the motto of Bed-Stuy is still “do or
die.” However, recent social, demographic transformations are changing the
neighborhood’s identity” Matias Echanovet
Learning Outcomes:

1. Critical Thinking and Representation

Investigative Skills: Ability to gather, assess, record, apply and comparatively evaluate
relevant information within the urban design coursework and design processes.

2. Learn in expressing and understanding in Visual and Tactical Media ( physical models,
graphic/visual presentations, videos)
Physical model , presentation booklet, web presents.

3. Leadership and Practice:

Collaboration: Ability to work in collaboration with others and in multidisciplinary teams

to successfully complete design projects. Understanding of the responsibility of the
architect to elicit, understand and reconcile the needs of the client, owner, user groups,
and the public and community domains.

4. Understanding of importance of successful business plan and marketing ( web

presence at least), for getting the support by the public and decision makers, and
realizing any urban/design /civic initiative.

Final Grade Calculation

Participation /Attendance 10% (3 absences result in failure)

Personal progress and, hard work and completion of task throughout the semester 50%
Final grade 30%
Development of collaborative skills 10%

TOTAL: 100%

Required Reading

“ South street Seaport: Re-Envisioning the urban edge” , Emerging New York Architects
2008 competition
“The Harlem edge: Cultivating Connections”,2012 Biennale Design Ideas Competition,
Emerging new York Architects.
“ South point from ruins to rejuvenation: The Roosevelt Island Universal Art center”
Emerging New York Architects 2006 competition, AIA Chapter.
“The Death and Life of Great American City: James Jacobs
“Delirious New York: A Retroactive Manifesto for Manhattan”, Rem Koolhaas
Resources
Libraries and online resources. Instructors personal knowledge.

Materials and Supplies

Green Supply Center (collection of recycled material available for re---

use, needs inquiring) and personal. Contact: [email protected]
All assistance will be provided in/situ or strategic to scout for any new, available and recycled
material to be used.
Improvisations, enthusiasm and self--organization will be highly encouraged and rewarded.
Important: storage will not be provided.
Grading Standards

F
Failing grades are given for required work that is not submitted, for incomplete final projects or for
examinations that are not taken (without prior notification and approval). Make up work or
completion of missed examinations may be permitted only with the approval of the instructor and the
program director. Missing three classes will result in failure.

D
The work according to Final Grade Calculation adheres to all of the general guidelines of delivery, and
the minimum terms of the assignment.

C/C+
Thesis average research seminar work. They will demonstrate some success in engaging with the
assigned readings or material. The deliveries will show that the student can identify and work
with key terms and passages in a text and apply them to ideas and examples found in other
texts, or other outside material. Additionally, the work will demonstrate effort in the areas of
analysis and critical thinking by posing an interesting problem or question. Typical of a “C/C+”
delivery, however, is that the original problem or question, once asked, does not move the
research forward. There is no real solution given, or there is a variety of possible solutions put
forward without a clear sense of where the author’s commitment lies. “C/C+” deliveries may
also have significant organizational, skill and/or other errors in evidence. These errors may
periodically impede the reader’s ability to understand the author’s point, or may lead to a
delivery that seems repetitive or circular.

B/B+
These are very good works. The “B/B+” paper does everything “C/C+” paper does, but offers a
sustained and meaningful structure to a critical endeavor that is more complex than a paper at
the “C/C+” level. What also distinguishes a “B/B+” paper is the author’s ability to offer a unique insight,
to ask questions of primary or secondary source material, and/or to set up a debate between texts or
points of view. The author’s point of view is clear and an argument is sustained fairly consistently
throughout the paper. “B/B+” papers are logically organized, and also respond to the assignment in
though and distinctive ways. Although minor grammatical and editorial errors may be present, they are
under control and do not impede meaning or clarity in the paper.

A
This are exceptionally good work that go above and beyond the expectations and requirements set
forth in the assignment. They demonstrate substantial effort and achievement in the areas of critical
thinking and scholarship. They also demonstrate considerable interpretive connections between
concrete ideas or textual moments, a high level of analysis, and flexibility of argument. The argument or
point of view that is offered is consistent throughout the paper, and governs the use and interpretation
of all examples, and primary and/or secondary source material. “A” papers are very well organized, and
are free of grammatical and editorial errors.
I
A grade of I (Incomplete), signifying a temporary deferment of a regular grade, may be assigned when
coursework has been delayed at the end of the semester for unavoidable and legitimate reasons.
Incomplete grades are given only with the written approval of the instructor and the program director.
The Request for an Incomplete Grade form must be filled out by the student and instructor prior to the
end of the semester. For undergraduate students, if a grade of incomplete is approved, outstanding
work must be submitted by the seventh week of the following Fall semester (for Spring and Summer
courses) or by the seventh week of the following Spring semester (for Fall courses). Otherwise, a grade
of I will automatically convert to a permanent unofficial withdrawal (WF) for a period of four weeks. For
graduate students, the maximum deadline for completion of an incomplete is one year though a shorter
period may be imposed at the discretion of the instructor.

Divisional, Program and Class Policies

Responsibility
Students are responsible for all assignments, even if they are absent. Late work, failure to
complete the assignments for class discussion, and lack of preparedness for in-­‐class
discussions and presentations will jeopardize your successful completion of this course.

Participation
Class participation is an essential part of class and includes: keeping up with reading, contributing
meaningfully to class discussions, active participation in group work, and coming to class regularly and
on time.

Attendance
Faculty members may fail any student who is absent for a significant portion of class. Significant portion
of class is defined as three absences for classes that meet once per week and four absences for classes
that meet two or more per week. During intensive summer sessions a significant portion of class is
defined as two absences. Lateness or early departure from class may also translate into one full
absence.

Blackboard
Use of Blackboard may an important resource for this class. Students should check it for
announcements before coming to class each week.

Delays
In rare instances, I may be delayed arriving to class. If I have not arrived by the time class is scheduled
to start, you must wait a minimum of thirty minutes for my arrival. In the event that I will miss class
entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.
Academic Integrity

This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the
course of academic work will not be tolerated. Academic honesty includes accurate use of quotations,
as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas,
or reporting on research findings or any aspect of the work of others (including that of instructors and
other students).These standards of academic honesty and citation of sources apply to all forms of
academic work (examinations, essays, theses, computer work, art and design work, oral presentations,
and other projects).” It is the responsibility of students to learn the procedures specific to their
discipline for correctly and appropriately differentiating their own work from that of others.
Compromising your academic integrity may lead to serious consequences, including (but not limited to)
one or more of the following: failure of the assignment, failure of the course, academic warning,
disciplinary probation, suspension from the university, or dismissal from the university.

For undergraduate students, if a grade of incomplete is approved, outstanding work must be

submitted by the seventh week of the following Fall semester (for Spring and Summer courses) or by
the seventh week of the following Spring semester (for Fall courses). Otherwise, a grade of I will
automatically convert to a permanent unofficial withdrawal (WF) after period of four weeks.

Guidelines for Written Assignments

Plagiarism is the use of another person's words or ideas in any academic work using books, journals,
internet postings, or other student papers without proper acknowledgment. For further information
on proper acknowledgment and plagiarism, including expectations for paraphrasing
source material and proper forms of citation in research and writing, students should consult the
Chicago Manual of Style (cf. Turban, 6th edition). The University Writing Center also provides useful on
line resources to help students understand and avoid plagiarism. See http://
www.newschool.edu/admin/wri=ngcenter/.
Students must receive prior permission from instructors to submit the same or substantially
overlapping material for two different assignments. Submission of the same work for two
assignments without the prior permission of instructors is plagiarism.

Guidelines for Studio Assignments

Work from other visual sources may be imitated or incorporated into studio work if the fact of
imitation or incorporation and the identity of the original source are properly acknowledged.
There must be no intent to deceive; the work must make clear that it emulates or comments
on the source as a source. Referencing a style or concept in otherwise original work does not
constitute plagiarism. The originality of studio work that presents itself as “in the manner of”
or as playing with “variations on” a particular source should be evaluated by the individual
faculty member in the context of a critique. Incorporating ready made materials into studio work as in a
collage, synthesized photograph or paste up is not plagiarism in the educational context. In the
commercial world, however, such appropriation is prohibited by copyright laws and may result in legal
consequences.
Student Disability Services

In keeping with the University’s policy of providing equal access for students with disabilities, any
student with a disability who needs academic accommodations is welcome to meet with me privately.
All conversations will be kept confidential. Students requesting any accommodations will also need to
meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if
appropriate, provide an academic accommodation notification letter
to you to bring to me. At that point I will review the letter with you and discuss these
accommodations in relation to this course. Mr. Luchs’ office is located in 79 Fifth Avenue, 5th floor.
His direct line is (212) 229--‐5626 x3135. You may also access more information through the
University’s web site at http://www.newschool.edu/studentservices/disability/.

NOTE: This syllabus may be subject to change as either the result of the discussion between the students
and the instructor, or due to unpredictable circumstances, findings or discoveries that will require the
adjustment. In either case , both will be discussed with the students.
Course Outline:

Design studio introduces the basic concepts of architectural working methods for development and
representation of a cohesive architectural design strategy. Issues of architectural representation,
design technique, materiality, light, scale, enclosure will be examined first in lectures and assigned
readings, then explored in 2 and 3 dimensions, using both analogue and digital techniques. The
assignments are progressing in scope and complexity and culminate in a public building. The students
are introduced to program, site, and how architecture works as a part of a larger and more complex
system. The design of the final project is a full integration of all related design components:
materiality, space, structure, program, and site, which also include environmental and socio-
economic components.

The course will be broken in 3 project phases:

Project 1: 4 weeks

Problems introduced:
Introduction to subjective and objective representation in drawings, art and space and understanding the
evolution of the materialistic objective?
Understanding how to use material, light, color, time and shape, to produces different physical and
experiential qualities of the space. Understanding different material and immaterial property and its
relationship/interrelationships/details .

Students are asked to draw plan, section and elevation of an object to refresh and proficient their
fundamental skills, learned in previous semesters. They should be able to understand and represent
correctly and cross-reference basic drawings: plan, section and elevation. Next class they are asked to
reframe the conventional understanding of drawing by exploring new techniques and methodologies,
including: collage, axonometric, superimposition, juxtaposition, and diagrams in various
combinations. Each drawing should not only show specific view from the object, but also should
construct a narrative depicting some subjective content introduced to the drawing techniques ideas
developed by some of the most prominent architects nowadays such as: Bernard Tschumi, Daniel
Liebeskind, Thom Mayne and Rem Koolhaas. The students have to choose either to master one of the
methodology discussed, or to introduce their own. They should present not only spatial but also
temporal relationship, event, narrative, movement and etc. Lecture about “Perfect acts of
architecture “exhibition at MOMA about the evolution of the perspectival drawings from Philippo
Brunelleschi to nowadays.
Students are introduced to basic material: glass, wood, plastic, metal, fabric, paper, concrete, paint,
mineral, rubber, light, digital. Each student has to present one material and also show different
examples of how this material connects with other materials and with the same one. Different
material connections are introduced.

After the formal introduction to the material palette, the students use found materials to assemble
them in 3D composition, explore new connections and following the same subjective and/or
narrative methodologies they developed in their drawings. The students should demonstrate that
they can capture the mood energy and emotions in their drawings, and physical collages using
different materials.

Courtesy “ Perfect act of architecture”

Next step students design two spaces. Attention is paid to the relationship between the room size
and proportions and the rapport room-to-room. Materials, light (artificial and natural) and
temperature are introduced later to the spaces, as tools of exploration and appropriate means of
representation to study how they change the experiential qualities of the rooms. For example: how
natural daylight affects and changes the inner experience of space as it travels over the course of the
day. Studies are completed to simulate a variety of natural settings including: seasonal changes,
weather conditions, day and night. Both physical and digital models are utilized to present
architectural results.

Reading:
Kipnis Jefferey 2001, “Perfect Acts of Architecture” MOMA
Kandinsky , Wassily ” Point and Line to plane”
Wolf Thoms” From Bauhaus to our house
Project 2: 4 weeks

Problems introduced:
Understanding the sectional relationship of the space, students identify rules and proportions to
establish a correlation between the space elevations, scale, proportions and human experience.
Envelope is introduced to the space as an important design component and connection to the
surrounding environment .

Students "add" two additional rooms vertically. These spaces are not simply stacked, but rather
interact and counterbalance the two original rooms to explore the idea of sectional and vertical
spaces. Using studies on stairs, students identify rules and proportions to establish a correlation
between the space elevations. Attention is paid to how light shapes all spaces and methods and
results are carried over from project 1.
By exploring inherent tools and methods of architecture, students will be expected to demonstrate
conceptual thinking and analytical rigor, giving equal importance both to speculative and pragmatic
aspects of the project. Students articulate a series of studies to explore forms and materials to
"enclose" the inner spaces created in the previous projects. Students will explore with 3d models ,

Ideas about "parametric" studies are integrated in order to control ways in which the light modulates
the spaces interiorly. Thoughts about operable apertures and joints are explored.
Final project: 6 weeks

Problems introduced: Program and site, understanding the building as a part of bigger system ,
Which is the site and the physical and non-physical environment.

As a transition to the final project the students will begin investigate diagrammatic organization
systems as they act as conceptual devices that frame certain relationships between internal
organizations of the space (program) and surrounding context. The space is related to the larger
system of organization, which this time includes the site and external environment, (material and
immaterial) and which, in return, can be used to transform the relevancy of preconceived
conceptual abstract thinking , which dominates in the today's built environment

While looking at specific site data, students will engage into a more dynamic and analogical writing to
describe the site. The idea of diagrams and "narrative" is adopted as a vital tool to re-imagine the
urban context. While understanding that architecture acts as part of a larger culture of thinking and
making, the studio will explore the design of a community and cultural center, which includes small
gallery and performance space. The design of the final project is a full integration of all related design
components (site, materiality, structure, technology, program, etc.). After careful study of the site
dynamic, the proposed building has to host the activities , which are already going on on the site
as well as proposed one.

The new building should include:

Library
Cafe
Projection room
Meeting room
Children room
Outdoor reading
Offices
Lobby entrance
Garden
Audio library
Video library
Gallery for painting/sculpture and workshop spaces
Small performance space for music /dance
Small theatre room for screening
Community space
The students can choose from the 2 sites below , or can proposed their own site, which has to be
approved by instructors.

Site 1: Vacant lot of the BMW Guggenheim lab: : First Park , Houston and 2nd Ave

Site 2: It is located next to the UN studio pavilion at the entrance of the Staten Island Ferry:
V
ARCH 340 VISUALIZATION 3

INTRODUCTION
The three course visualization sequence seeks to position itself within an academic and professional environment of constantly changing design tools,

3 representational methods, and technologies. Through the careful introduction of appropriate tools and methodologies, these courses are meant to
equip students with a digital and analog framework that supports fluidity in process and reinforcement of the benefits and value of each through an
exchange and overlap.

SYLLABUS Visualization III is designed to accompany and support concurrent Third Year curriculum. It offers advanced instruction of digital design, multimedia
rendering, animation, and presentation techniques. These skills, much like those introduced in the earlier visualization courses, offer not only new tools
for visual communication and representation, but also new methodologies for design and abstraction. A discussion of the way in which emerging tech-
nologies are affecting contemporary practice and process will act as a theoretical underpinning to all exercises.

COURSE OBJECTIVES
Lab 1: Review principles of parametric modeling (Revit)
Lab 2: Review of soft-lead rendering techniques (lead on trace) & Introduction to surface modeling (Rhino)
Lab 3: Introduction to principles of rendering and animation (3DStudio MAX)
Lab 4: Introduction to techniques of digital presentation (Photoshop, Power Point)
Lab Lectures will be followed by a series of weekly assignments and review to attain high competence in both skill and concept.

PRE-REQUESITES
Students are required to successfully complete Vis I (AAID-140), Vis 2 (AAID-240) and ARCH-327 before registering for this course. Portfolio work
from Vis 2 must be submitted to the instructor prior to the beginning of class.

ATTENDANCE + LATENESS
Attendance will be taken at each class meeting and lab lecture. As per NYIT policy, more than three unexcused absences will result in withdrawal from
the class. If you fail to withdraw, your instructor is required by the School of Architecture and Design, to issue an F for your performance. Students ar-
riving more than 15 minutes late will be marked absent.

EVALUATION
Weekly assignments will be given and progress will be evaluated by your instructor based on how well you demonstrate the skills and concepts in-
volved. A formal mid-semester review and final review will also be held as culminations of Labs 1 + 2 and 3 + 4, respectively.
At the end of Visualization 3 course, you will be required to document and record your work in the form of a semester portfolio. The portfolio should be
assembled as per requirements from your instructor and will be due following the conclusion of the semester.

MATERIALS LIST
Charcoal or soft lead pencil (6B), 12” roll of trace
Computer [please refer to laptop policy for recommended hardware]
Essential Software [AutoCAD, Revit, Rhino, 3D StudioMax, Photoshop]

ARCH-340
VISUALIZATION 3
NYIT SCHOOL OF
ARCHITECTURE
AND DESIGN
V V
SUPERTALL 1: SUPERTALL 2: Hugh Ferris

SOFT SKIN
STRUCTURE & CORE

3
1. Introduction

3
1. Introduction The next task is to design the skin of the new tower. Your exacting and eccentric client insists on only one con-
You have been commissioned to design a ‘Supertall’ mixed-use tower (1000’+) on a hypothetical open site in an straint: NO LESS THAN HALF of the total surface area of the facade surface must be CURVED.

LAB 2
unnamed metropolis in the Middle East. In the first assignment, you and a partner will be challenged to construct
3D models of the structure and core of a precedent. These models will be used throughout the semester to assist Using the structure and core of your precedent model as an underlay, you will begin by generating a series of

LAB 1 in the design of the tower. ‘gesture’ drawings with charcoal or soft lead. These drawings will be scanned and manipulated in Photoshop. The
resulting images will serve as guides for the construction of the facade in Rhino.
2. Required Tools 2. Required Tools
AutoCAD, Revit Revit, Rhino, Photoshop, charcoal or soft lead, trace paper (for 11x17 format), flat-bed scanner

3. Instructions 3. Instructions
a.) With a partner, select a precedent from the list below, or one of your own choosing that meets the approval of a) Generate a minimum of two (2) perspectival, wire-frame views of your structure/core models. Print them on
the Instructor. Gather all of the documentation necessary to visualize and model the structural system and core. 11x17 paper.

1. 7 South Dearborn Chicago, USA S.O.M 1998 b) Overlay trace on wire-frame prints. With charcoal or soft lead, create at least (3) unique designs for the skin.
Provide a minimum of two (2) renderings for each design (for a total of six (6)).
2. Kowloon Station Tower Hong Kong, PRC KPF 2003
3. Turning Torso Malmo, Sweden Santiago Calatrava 2005 c) Select one (1) design. Scan the two (2) renderings of that design, save as JPG’s.
4 Xujiahui Tower Shanghai, PRC John Portman & Assoc. 2010
5 Burj Dubai Dubai, UAE SOM 2009 MAD Architects
d) Build a 3D model of the design in Rhino. Use the images and precedent models as references.
6 Lotte World II Busan, South Korea Parker Design 2012
7 Taipei 101 Taipei, Taiwan C.Y. Lee & Partners 2004
8 Shanghai World Financial Ctr. Shanghai, PRC KPF 2008 S.O.M 4. Deliverables
a) Photocopied renderings (charcoal or soft lead on trace), minimum of six (6) on 11 x 17 paper
b) CD with Rhino file containing model of building skin
b.) Generate a diagrammatic, 3D vector model of the structural system. Include all essential components (i.e
5. Schedule
columns, walls, slabs, beams, girders, trusses) Model systematically and repetitively: group similar elements, use Assigned:
layers to distinguish between families of elements. Due:

c.) Generate a diagrammatic, 3D vector model of the core. Included only the primary circulation components.
Model systematically and repetitively.

d.) Create a visual analysis of the building for presentation to the class. Format the presentation as a PDF docu-
ment. Organize the presentation in two parts, per the assignment.

NOTE: Do not include facade elements (i.e. curtain walls, glazing, louvers, etc.) in your models.
ARCH-340
4. Deliverables VISUALIZATION 3
1.) Graphic presentation in PDF format (minimum 6, maximum 10 pages) NYIT SCHOOL OF
2.) CD-ROM with .DWG or .RVT file of models AND PDF file of final presentation
ARCHITECTURE
AND DESIGN
ARCH-340 5. Schedule
Assigned:
VISUALIZATION 3
Due:
NYIT SCHOOL OF
ARCHITECTURE 6. References
AND DESIGN TALL BUILDINGS: http://www.moma.org/interactives/exhibitions/2004/tallbuildings/index_f.html Gensler
NAAB Student Performance Criteria: A.3
V V
SUPERTALL 3: O.M.A SUPERTALL 4:
LIGHTS, CAMERAS, ACTION PRESENT IT

3 1. Introduction
The next challenge is to create an animation that demonstrates the structural logic and construction assembly of
the tower. To do so, it is imperative to first learn basic principles of rendering, with particular emphasis on lighting
3 1. Introduction
The final task is to format and present your semester’s work in a concise visual presentation.

LAB 3 LAB 4
and materials. This exercise challenges students to explore the vast potential of 3DStudio MAX as a conceptual The portfolio should be composed of only the best images, and should document the full process of design.
design and visulatization tool in three and four dimensions.
2. Required Tools
2. Required Tools Photoshop, Illustrator, Power Point
Rhino, 3DStudio MAX
3. Instructions
3. Instructions a) Collect images from each stage of the design process
a) Export your completed tower model (with structure, core and skin) from Rhino into 3DStudio MAX. b) Use Photoshop to manipulate the images for final presentation.
b) Create three (3) still-frame renderings of your tower (in daylight) with three distinct cameras. (For full credit, c) Create a template file in Power Point
these images must have compelling shadows and materials with properly-scaled textures. For extra credit, do the d) Using the images and the template, create a sequence of no less than eight (8) slides. For full credit your ani-
same for a night scene.) Save these still images in JPG format. mation (from the previous lab) must be included within this 8-slide sequence.
c) Create an animation that approximates the sequence of structural assembly for the tower.
d) Render the animation and save in AVI format. 4. Deliverables
CD with Power Point file of final portfolio
4. Deliverables S.O.M
CD with 3DS file (containing completed model, three rendered JPG’s & animation set-up) and AVI file (of final ren- 5. Schedule
dered animation) Assigned:
Due:
5. Schedule
Assigned: 6. References
Due: Power Point Tutorial:
http://www.cof.orst.edu/net/software/present/powerpnt/ppguide.sht
6. References
SAMPLE ANIMATION: http://www.youtube.com/watch?v=GvujGPwsX2E

ARCH-340 ARCH-340
VISUALIZATION 3 VISUALIZATION 3
NYIT SCHOOL OF NYIT SCHOOL OF
ARCHITECTURE ARCHITECTURE
AND DESIGN AND DESIGN
Course information

Catalog Course Description

Course Outline

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Assessable Tasks

Assignment 1:
Due: Tuesday, Sept. 03 (Step 1) and Tuesday, Sept. 17 (Steps 2 and 3)

Survey, AutoCAD Drawings , Presentation Board

-Survey
Choose a normative stair to document (steps and stoops do not count). Consider, you will
most likely have to visit the stairway multiple times.
Survey the stair through photographs, measurements, drawings (hand sketch the stair in
plan, section, elevation, and perspective) and whatever other means you deem
necessary/helpful. Remember you will be using this information to reproduce the stair in
2D and 3D. Be accurate and thorough.
a. Digitize your material and compose it in a single 11” x 17” presentation board.
-AutoCAD Drawings
b. Draft your stair in AutoCAD. Drawings should include plans, sections, elevations at a
minimum. Be highly detailed and include the fundamental elements of the normative
stairway (see “Introduction to the Stairway”). Drawings must be to scale.
-Presentation Board
c. Compose a single presentation board (of a size of your choosing) of your CAD drawings
and relevant survey materials. Drawings must be to scale.

Assignment 2: Due: Thursday, Oct. 10.

Beginning with their AutoCAD production from assignment #1, students will import accurate 2-
dimensionalinformation and use it to construct their stair in 3-dimensions using Rhino. Upon its
digital reproduction students will produce a new set of representations from Rhino.

Assignment 3: Laser Cut Model of Normative Stair Due: Tuesday, Oct. 22

Laser Cut File, Laser Cut Model
Model must be to clean, precise and to scale.
Assignment 4: The Non-Normative Stair, Due: Tuesday, Oct. 29
Choose a non-normative stair to document; Non-normative, meaning a structure that
exceeds the basic functionality of vertical connection between levels and explores other
mechanics of space. You are encouraged to look for designs which manage to embed
multiple uses in addition to vertical circulation, such as seating, watching-gazing, resting,
social interaction, and other dynamic use of space. Consider, you will most likely have to
visit the stairway multiple times.
Survey the stair. Remember you will be using this information to reproduce the stair in
2D and 3D. Be accurate and thorough.
Similar to Step #4 in Assignment #2, it is important to understand the invisible potential
of any built object/place. As a designer, you must question the functionality of stairs as
merely a linear means to move people from story to the next. You will pay a particular
attention to the inner qualities of the ascending/descending journey of the stair.
Try to understand your stair more from an experiential perspective and less from an
observational one. Think of it as a sequential narrative. Re-imagine the experience of
the stair (via walking, sitting, standing, playing) and visualize new spaces and new uses.
Understand how these experiences can be linked together to form a “complete story.”

Assignment 5:
The Non-Normative Stair Continued, Due: Tuesday, Nov. 26

Using the information from your survey, model your non-normative stair in Rhino Model will be
checked in class and needed for final Assignment #5. Utilizing your 3D Rhino model, produce
drawings for your non-normative stair. Drawings will be checked in class and needed for final
Assignment #6.

Assignment 6:
Final Presentation. Due: Tuesday, Dec. 10
Evaluation and Grading Criteria

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Instructor Information

School, Program, and Class Policies

Attendance: