FIRST YEAR STUDIO SYLLABUS 2012 2013

The architectural design studio Year one 2012/2013 Prof.. The experiences, habits, and patterns found within the architecture design studio make up what we have termed "studio culture."

The architectural design studio Year one 2012/2013

Prof Dr Inass F Hamdy Prof Dr Mohamed A Hanafi

Dr Mohamed S Ibrahim

Dr Ingi A Elcherif

Eng Sherif El-Dakkak Eng Rania Raslan Eng Israa hanafi Eng Samar El-Tahan Eng Mahmoud Gomaa Eng Amira Ammar

The Architectural Department, Faculty of Engineering, Alexandria University

Alexandria – 21544 - Egypt Tel: (++203)592-1852 Fax:(++203)592-1853

http://www.alexeng.edu.eg

“Those who have studied architecture undoubtedly have vivid memories that characterize their

design studio experience Late nights, exciting projects, extreme dedication, lasting friendships, long

hours, punishing critiques, unpredictable events, a sense of community, and personal sacrifice all

come to mind Those aspects are not usually written into the curriculum or even the design

assignments, but they are likely the most memorable and influential The experiences, habits, and

patterns found within the architecture design studio make up what we have termed "studio culture."

AIAS (American Institute of Architecture Students)

Table of Contents

Table of Contents 10

Guide to Studio Culture 1

Studio Etiquette 1

Attendance policy 3

Assignments 3

Time Management 3

Desk Crits 3

Design Reviews 4

Materials 4

Course Portfolio 4

First Year Learning Objectives 5

Learning objectives 5

Guide to Study Programme 11

The design projects 11

Evaluation criteria 12

Submission deadlines 13

LIBRARY and reading lists 13

Feedback 14

Architecture Studio & Briefs 15

MODULE 1A – INTRODUCTION 17

1A04- ORTHOGRAPHIC PROJECTION: MODULAR COMPOSITION 25

1A05- ARCHITECTURE COMMUNICATION: DRAWING & MODELLING 27

MODULE 1B –THE EARLY STAGE 29

Part one – To Create 31

ARCHITECTURE DESIGN STUDIO 1B 32

1B01- CARTESIAN CUBIC SPACE: MODULAR CUBE COMPOSITION 32

1B02- PARAMETRIC CUBIC SPACE: CUTTING-PLANES COMPOSITION 35

Part Two – To Recognize 38

1B03- TO SEE: SEEING SHAPES 39

1B04- TO SUPPORT: SUPPORT THE CUBE 42

Seeing, Appreciating and drawing workshops 45

1W01-SURVEY01 - TAKING VISUAL NOTES 45

Module 1C –The mid Stage 52

ARCHITECTURE DESIGN STUDIO 1C 55

1C01- TO DESIGN: DESIGN STUDIO CUBICLE 55

1C02- TO APPRECIATE: AN URBAN BREATHING SPACE (A PLACE FOR

CONTEMPLATION) 58

Module 1D –The final Stage 66

Architecture design studio 1D: Brief 69

1D01- TO DWELL: EXPERIENCING ARCHITECTURE 70

Briefs & Workshops’ Appendix 77

1B03 -A-SEEING SHAPES 77

1W01 -A- TAKING VISUAL NOTES 80

Studio Etiquette

Students are expected to work in the studio This will immeasurably enrich the student's learning potential If everyone is to work in the studio, certain etiquette is necessary to ensure a civil working environment

For Staff members:

• Staff members are expected to take an active role in introducing students to effective studio practices

• Staff members are expected to encourage the richest possible dialogue in studio by teaching students how to be both good critics and good listeners through the teaching of verbal and graphical communication skills

• Staff members are expected to show up on time, use studio time efficiently, and end class on time At times, there may be exceptions in order to facilitate reviews, important critiques, lectures, and other special events

• If a staff member needs to miss class time in the fulfillment of their broader academic duties, they should notify the students about any alternative arrangements for their studio time as far in advance as possible

• Teaching Ethics:

Studios may engage in real projects, but only for the academic benefits of such engagement to both the student and the community At no time is a student’s work to be used privately for a professor’s professional or financial gain

1 Guide to Studio Culture

For Students:

• Desks and Drawing Equipment

o Every student has an exclusive and equal amount of studio workspace

o All students are to have the necessary tools to work at all times Borrowing of equipment during class time is not allowed Student’s belongings should be marked or engraved to identify the owner

o Students are responsible for maintaining the overall work environment of the studio space

are to be clean, uniform and ready for design, drawing work, and desk crits

o Students are responsible for cleaning out their work spaces Place all waste material and rubbish in their designated trash cans

• Studio Use

studio desks, work benches, other furnishings, floors, or walls in any way

o Work on cutting mats or other protective material

o Spray-paint in the paint booths in Building 05 or the shop

• Studio behavior

providing each student and faculty the possibility of a quiet and productive work environment

taking place and are expected to focus and produce studio work required for the class

o Students are expected to show up on time and be present for the entire class; not arrive late or leave early

o Conversations should be kept to a moderate level and may not be distractive to other individuals who are working in studio

o Headphones may be used during non-class time hours, provided the volume does not disturb those working around you Remember

it is each student’s right to have a quiet and respectful studio workspace

caused by spills are your responsibility

o Smoking is prohibited in all classrooms, studios, and corridors

• Plotting drawings

2 Guide to Studio Culture

o It is unacceptable for faculty or classmates to have to wait for students who are late to class due to last minute plotting

o Plotting should be done well in advance of routine desk crits or presentations In professional practice, private clients, review boards, competition officials and permitting authorities do not wait for work that is late

faculty from addressing the whole class when needed

o Problems in plotting or mistakes in output are your mistakes and cannot be blamed on hardware, software or printing services- they are yours alone and you need to allow time for unforeseen problems so work presented is without excuse and free of mistakes Checking work is a fundamental skill of the architect and reviewing drawings for consistency, clarity, and completeness is essential

Attendance policy

Studios are scheduled from 8:30 am to 11:40 am on Saturdays and from 8:30

am to 11:40 on Tuesdays with a 15 minutes break

The attendance policy is outlined in your syllabus, but be advised that attendance is mandatory Please check with your studio instructor about the policy concerning unexcused absences If you are absent, you are responsible for obtaining your assignment, lecture notes, etc

Desk Crits

Desk crits is an essential component of architectural education Since architecture is

a medium, this means having new and thoughtful work (drawings/ models/other media) each class session If we come to your table for a desk crit and find that you have no significant new visual work (a scribble in your sketch book does not count),

we will move on to the next student Such lack of preparation will negatively impact your grade

3 Guide to Studio Culture

Design Reviews

Design reviews typically occur in a review space or wall surface and may include outside critics They provide an opportunity for students to demonstrate and improve upon their oral and visual presentation skills, as well as to learn to appreciate how their work can be interpreted from different, often unexpected perspectives

Students are required to attend, present, and participate in all design reviews organized by their instructors Students should be active participants in the reviews

of their peers

Materials

• All students’ work in the Department is kept to international ‘A’ sizes (A1, A2, A3, A4 etc.) whenever possible and appropriate

• Pencils (various leads – H - HB – 2B – 4B -6B) - Sharpener

• 2mm Clutch pencil (leadholder) – various leads - Lead pointer

• 5mm Clutch pencil (sketching pencil) [optional]

• Coloring pens (pastel – watercolor – markers)

• Refillable Technical Pen Set, and compass

• Kneaded eraser – Eraser – Erasing shield

• T-Square - Set squares (90-45-45 and 90-30-60 degree angles) - Protractor - French curve set

• 30 cm Triangular Scale ruler

• Cutter - 30cm Steel Ruler - A3 cutting mat [preferable]

The front cover should note the following:

• Year/Semester, ‘Course Portfolio 2012/2013’

• Your name, and your number

Please ensure that you have your “course portfolio” with you at all times for desk crits You also will be asked to display all your portfolios for assessment

at every formal design review of your studio projects

4 Guide to Studio Culture

Instructional objectives identify the intended learning outcomes in terms of the types

of performance students are able to demonstrate at the end of instruction to show that they have learned what was expected of them Wellstated objectives clarify these expectations in terms of measurable or observable student performance

Learning objectives

The following objectives form the basis for the first year sequence of design courses Additional specific objectives are defined at the beginning of each project statement

In each case, the NAAB objective is adopted followed in most instances by more

specific objectives that amplify its meaning in the first year design studios

SPEAKING AND WRITING SKILL:

Ability to read, write, listen and speak effectively

1 Ability to understand the goals, constraints and requirements of a design project based on reading the project statement and discussing it with others

2 Ability to develop a clear understanding of fundamental formal and architectural concepts through reading and listening

3 Ability to verbally present in a succinct and clear manner the essential goals and concepts that underlay a design

4 Ability to appropriately employ formal design concepts in writing and speaking about designs

5 Ability to identify in writing specific things learned in the process of developing and communicating a design

5 First Year Learning Objectives

CRITICAL THINKING SKILL:

Ability to raise clear and precise questions, use abstract ideas to interpret information, consider diverse points of view, reach well-reasoned conclusions and test them against relevant criteria and standards

1 Ability to ask questions of presented designs that help the author clarify and further develop the design

2 Ability to expand your understanding of a design problem based on the points

of view and designs presented by others

3 Ability to develop a design that addresses and synthesizes stated goals, constraints and requirements

4 Ability to develop a well-reasoned case of a design that addresses essential goals, constraints and requirements

GRAPHIC SKILL:

Ability to use appropriate representational media, including computer technology, to convey essential formal elements at each stage of the programming and design process

1 Understand the information gathered by the human visual system and how it supports the perception of form and space

2 Understand the relationship between the information gathered from the visual world (i.e., surface properties and spatial cues) and graphic languages that can be employed in their representation

3 Understand the fundamental principles and concepts underlying orthographic, paraline and lineal perspective drawing systems

4 Understand the basic concepts and techniques used in direct, perspective construction

5 Understand the relationships of drawing system, technique, speed and media

to appropriately and efficiently communicating the desired information

6 Understand the value of representing information in graphic form

7 Understand the role of drawings in the research and analysis phases of the design process

8 Understand the qualities that make a drawing an appropriate and clear communication

9 Ability to utilize a range of media, tools, techniques and pictorial systems to represent existing and imagined objects and environments on two-dimensional surfaces

10 Ability to create proportionally accurate one- and two-point eye-level perspectives that communicate the experience of being near things or within spaces

11 Ability to create the illusion of three-dimensional form and space on dimensional surfaces by employing a range of graphic languages (line weight,

two-6 First Year Learning Objectives

value and texture) to represent the properties and spatial cues (i.e size, overlap, vertical location, aerial perspective, light, shade, shadow, etc.) afforded by existing and imagined objects and environments

12 Ability to draw both freehand gesture and carefully constructed representations of existing and imagined objects and environments on two-dimensional surfaces

13 Ability to construct accurate multiview and paraline drawings

14 Ability to construct perspective drawings that look correct

15 Ability to incorporate people and trees into multiview, paraline and perspective representations to animate, give scale and enhance the illusion of form and depth

16 Ability to utilize a variety of graphic techniques and languages and pictorial systems to represent and communicate the essence of quantitative and qualitative information, ideas, concepts and emotions

17 Ability to communicate intellectual and/or emotional information, ideas and concepts through words and abstract drawings/ diagrams

18 Ability to communicate in words and drawings/diagrams alternative conceptual solutions to a specific problem

19 Ability to construct a simple physical model of a design

20 Understand the fundamental principles, concepts and techniques for casting shadows in multiview, paraline and perspective representational systems

21 Understand the fundamental principles and techniques for constructing reflections of objects within paraline and perspective pictorial systems

22 Ability to represent a range of materials (i.e wood, brick, glass, stone, concrete, shingles, etc.), transparency and reflection in architectural drawings

23 Ability to produce hand lettering that exhibits good form,consistency and alignment

COMPUTER

1 Understand the function and relationship of the major hardware components

of a typical stand-alone computer system

2 Understand the function and relationship of the operating system, shell applications and special purpose applications of a typical stand-alone computer system

3 Understand the relationships between analogue and digital information and the translation of one to the other

4 Understand the capabilities of specified image editing, page layout and 3D modeling software

5 Ability to perform a range of functions and operations using specified image editing, page layout and 3D modeling applications

6 Ability to translate files to a variety of formats and transfer them between applications

7 Ability to construct a 3D digital model of a design concept and use it to evaluate, revise and present a final solution

7 First Year Learning Objectives

RESEARCH SKILL:

Ability to gather, assess, record and apply relevant information in the architectural course work

FORMAL ORDERING SYSTEMS:

Understanding of the fundamentals of visual perception and the principles and systems of order that inform two- and three-dimensional design, architectural composition, and urban design

1 Understand the basic formal concepts including size, shape, material, context and relationship (pattern, hierarchy, contrast and balance)

2 Understand the value of the conscious application of the formal concepts to the creation, development and communication of ideas

3 Understand a range of ways that formal concepts can be employed to create relationships between elements within a design or presentation

4 Understand the difference between a design concept and a specific design

FUNDAMENTAL DESIGN SKILL:

Ability to use basic architectural principles in the design of buildings, interior spaces, and sites

1 Understand a range of basic architectural design concepts (i.e., approach, entry, arrival, open/implied versus closed/ explicit space and clear spatial figure

2 Ability to plan, carry out and reflect on a process for creating a design solution

3 Ability to generate alternatives and develop solutions to defined design problems

4 Ability to design things, environments and communications that employ formal concepts of size, shape, material, context, number, variety and relationship (pattern, hierarchy, contrast and balance) to create relationships between elements exhibiting an appropriate level of complexity

5 Understand the fundamental concepts and theories underlying color classification (i.e value, hue, chroma, color wheel, compliments, warm, cool, etc.)

6 Ability to make decisions relative to a color’s hue, value and chroma qualities that support design and visual communication goals

7 Ability to make decisions concerning color dimensions (value, hue and chroma) and relationships (analogous, complementary, triadic, warm/cool) to achieve desired ends using both traditional and digital media

8 Ability to utilize a range of color media (i.e pencils, pens, markers) in the creation of drawings

9 Ability to employ color to enhance the illusion of threedimensional form and space

8 First Year Learning Objectives

10 Ability to design abstract compositions and spaces that range from implied to explicit

11 Ability to create clear visual hierarchies in two- and threedimensional designs

12 Ability to design spaces that have clear figures and support an approach, entry, arrival sequence

13 Ability to design spaces that exhibit different degrees of openness/ explicitness

14 Ability to design and execute two-dimensional presentations composed of drawings, images and/or text that support the intended communication

1 Ability to analyze a work of architecture and communicate its qualities through

a two-dimensional graphic design

2 Ability to design three-dimensional form and spaces that experientially change

as the location of the sun changes

3 Ability to design spaces that protect occupants from the sun’s glare and heat while using the sun for illumin

9 First Year Learning Objectives

10 Guide to Study Programme

Design itself is taught, learned and assessed in the design studio through individual tutorial sessions, group discussions, peer evaluation and by formal presentation (interim and final) to staff, visiting tutors and other students

The design projects

During the course of the first year, design problems (exercises, projects and assignments) are used to test and evaluate your design and learning capability These design problems are given in the form of a brief or program that outlines (client) goals, (user) requirements, site conditions and/or other technical information that may be acting as a constraint on the problem

The problem may be a hypothetical design project developed to explore specific aesthetic, functional and/or technical issues, or the problem may be modelled closely after an actual project under consideration in the community with all its constraints,

Detailed project descriptions will be handed out to students at least one day before the assignment date and discussed by the tutors in the pre-assignment presentation These will include details of the project briefs, special events and presentations, project timetables and assessment criteria

11 Guide to Study Programme

Overview of the studio projects (first semester)*

Common to all studio projects in the BSc Architectural Studies is the notion of the

‘verb’ as a design generator as opposed to the ‘noun’, i.e ‘to shelter’, ‘to work’, etc

in comparison to ‘a shelter’, ‘an office’, etc Through this approach, the student is introduced to the idea that at a fundamental level, architecture is born of human

WEEK4 Session 1

ORTHOGONAL

VISUAL REASONING

LOGICAL EXPERIMENTATION

WEEK6 Session 1

WEEK7 Session 1 PROJECT 4 TO CONNECT LOGICAL RERSONING /

DEDUCTION Session 2

ARCHITECTURAL-DRIVEN COMOPSITION

to indicate the level of understanding and achievement required in each theme and student progression through the course of study The following guidance is given on the definition of these terms:

DESIGN Knowledge and ability:

Analysis Research Logic Physical context

12 Guide to Study Programme

TECHNOLOGY AND ENVIRONMENT Knowledge:

Material Structural principles Environmental Health and safety issues

CULTURAL Ability:

Judge design aesthetic and technical qualities

COMMUNICATION Ability:

Visual and verbal communication Quality and Organization Clarity and logic

Neatness Orthogonal Drawings Use of conventions of 2d & 3D modelling

DETAILED COMPETENCIES Understanding:

Design, fabrication, construction Scale Attention to detail and craftsmanship

EMBEDDED OUTCOMES Ability:

Work as part of a team Verbally present Use appropriate visual methods Problem solve, carry out risk assessment

The assessment of design work cannot be reduced to the quantitative accumulation

of points There will always be aspects of creative activity which involve work of an exploratory and unpredictable nature which cannot be quantified through checklists

Submission deadlines

Deadlines for all project work will be rigidly applied and extensions of time given only

on medical or other exceptional grounds A medical certificate must be submitted as evidence of illness to any of the studio staff as soon as possible after its occurrence

LIBRARY and reading lists

For every design projects there will be suggested lists of different reference books, most are available at the Department’s Library

In the first year all students shall be introduced to the Departmental Library, in both formal induction exercises and encouragement of supplementary reading and

Journal ‘browsing’ Through studio and class related tasks, students shall acquire information gathering and processing skills, specifically how to use information

resources knowledgably and creatively, and how to provide relevant citations or references to material used

13 Guide to Study Programme

UNIVERSITY OF ALEXANDRIA: FACULTY OF ENGINEERING: DEPARTMENT

OF ARCHITECTURE: SESSION 2011-2012: FIRST YEAR DESIGN STUDIO

STUDIO RECORD: ARCHITECTURAL DESIGN STUDIES

Lecture Assignment (Assignment Code: )

Title: Date: Staff Attending:

The general aim of this first studio exercises is to help students develop proper line

technique as they learn to keep things in proper proportion

Part one – Drafting Skills

1A01- GEOMETRIC CHALLENGES /Draw in the boxes

1A02- FREEHAND SKETCHING/Follow the module

1A03- FREEHAND SKETCHING/Create a Pattern

Part two- Modular projection

1A04- ORTHOGONAL PROJECTION/ Modular Composition

1A05- ORTHOGRAPHIC PROJECTION/ Cut-out Plans

Module 1B –The early Stage

General Aim

SAPERE VEDERE (knowing how to see)

The general aim of this first studio design assignments is to nurture the students’ skill

of seeing and making respectively

Acquiring the ability of questioning what is being seen & imparting a manner for deducing and proposing what can be seen

Part one – To Create

15 Architecture Studio & Briefs

Promoting the induction to imaginative thinking at first with more divergent, intuitive and imaginative tasks

1B01- CARTESIAN CUBIC SPACE/ Modular Cube composition

1B02- PARAMETRIC CUBIC SPACE / The Cuttingplanes composition

Part Two – To Recognize

Recognizing the elements and principles of two and three dimensional design to

dissect and analyze visual artefacts

1B03- TO SEE/ Seeing Shapes

1B04- TO SUPPORT/ Support the Cube

Module 1C- the mid Stage

General Aim

TO MAKE SENSE

The general aim is to identify, recognize and respond to the constraints whether implicitly or explicitly presented

To translate the design solutions by means of creative discovery

1C01- TO PERFORM/ The HANTOOR Ride

1C02- TO SHELTER/ The CAPsule

Module 1D- the final Stage

1D01- TO DWELL / Architectural Project

As a progression from ‘to Shelter’, the aim of ‘to Dwell’ is more complex and has more aspects to be considered We are through with simple needs, we need to survive and flourish, it is time to stay, reflect, and inhabit a landscape; it is time to make a home and build a future

16 Architecture Studio & Briefs

• Keep your initial lines light: many teachers call these lines developmental

lines Do not darken your lines until you are confident that what you have drawn is what you would like to keep The darkened lines are called object lines

• Correct Use of Pencil: Student should use a range of different varieties of

pencils like hard pencil, soft pencil, etc They better sharpen all their drawing pencils well, to obtain the best effect on their drawing Hold the pencil in a way which they feel most comfortable (Some people hold the pencil for sketching

in the same manner as they hold it for writing Others prefer to hold it with the thumb and index finger only, while the pencil is placed below the palm of the hand) Whichever is their style, they should just make sure that they do not press it too hard on the paper

• Correct Use of Eraser: Always rub the eraser lightly on the drawing paper

Or else, you can end up damaging the paper Avoid too much of rubbing of the same area to prevent breakage of the paper If you have to erase a large section of the drawing, use white eraser When only a small portion of the drawing has to be erased keeping the surrounding area intact, use a knead able erase To get rid of the graphite stuck on the eraser rub it thoroughly over

a white paper

17 Architecture Studio & Briefs

1A01- GEOMETRIC CHALLENGES: Draw in the boxes

The exercise is designed to help you develop proper line technique as you learn to keep things in proper proportion Don’t grip the pencil too tightly Initially pay more attention to keeping your lines light, these lines are known as developmental lines When you begin to draw patterns the way you want them then darken your lines These are called object lines Pay attention to keeping things in proper proportion and relation Keep your drawings neat

Final grade = CF *(A+L+N)

19 Architecture Studio & Briefs

1A02- FREEHAND SKETCHING: Draw a Pattern

Architectural sketching is a tool that an architect uses to articulate his vision As projects proceed, these first sketches may eventually become detailed architectural

or technical drawings, which precisely indicate measurements and other critical details In the worksheets, Freehand Sketching exercise, is designed to give students practice sketching straight lines, curved lines, and keeping things in proper proportion

In this exercise, you are drawing “freehand” Keep in mind that all parts to a two dimensional picture can be broken into two types of lines; straight and curved If an engineer is able to draw straight lines and curved lines and keep things in proper proportion, they are well on their way to becoming good sketchers Pay attention to keeping things in proper proportion and relation and keep your drawings neat

ASSIGNMENT

In freehand, draw the following SIX patterns starting by using your T-squares and sets to draw any necessary grids or guidelines Keep your grid lines as light as

possible using only H or 2H lead

20 Architecture Studio & Briefs

Final grade = CF *(A+Q+L+N)

21 Architecture Studio & Briefs

1A03- ORTHOGRAPHIC PROJECTION: Cut-out plans

In this assignment, you will be required to draw the Cut-out plans for three levels (A,B & C) in two Cubic modular model All dimensions should be kept in relation to the drawn module and any missing dimension could easily be deducted from the drawing

Remember, there are no hidden lines Pay attention to keeping things in proper proportion and relation Keep your drawings neat

ASSIGNMENT

Draw the A, B & C section

plans(9x9 cm) for the Models 1

& 2 Keep your grid lines as light

as possible using only 2H or H

Hand-in to Studio tutors at the end of

the section by 11:45 am

Completeness Factor (CF): finished boxes/6

Final grade = CF *(A+Q+L+N)

22 Architecture Studio & Briefs

Model 1

23 Architecture Studio & Briefs

Model 2

24 Architecture Studio & Briefs

1A04- ORTHOGRAPHIC PROJECTION: Modular composition

Last year, you have studied orthogonal drawings as a mean of presenting three dimensional objects in series of two dimensional drawings You have been also subjected to different exercises that were more concerned with mechanical parts or machinery

In this assignment, you will be required to draw the orthogonal drawings for a

symmetric architectural model, loosely inspired by Michael Graves’s Portland

Building

25 Architecture Studio & Briefs

All dimensions should be kept in relation to the drawn module and any missing

dimension could easily be deducted from the drawing

Remember, there are no side views, only elevations and no hidden lines Pay

attention to keeping things in proper proportion and relation Keep your drawings neat

ASSIGNMENT

On a 0.5x0.5 cm grid, draw in freehand two elevations of the model ( A & B ) as well

as a Top-Down Isometric You are allowed to use your T squares and sets to draw grids and any necessary guidelines Keep your grid lines as light as possible using only H or 2H lead

One A3 sheet including the three drawings neatly drafted and positioned according

to the tutors’ illustrated layout

Completeness Factor (CF) :( Elevation A (25%), Elevation B (25%) & Isometric (50%))

Final grade = CF *(O+A+Q+L+N)

26 Architecture Studio & Briefs

1A05- ARCHITECTURE COMMUNICATION: Drawing & Modelling

Architectural drawings are said to be an architect’s means of communication during the different stages of a building’s design process These include visual notes and analytical sketches and diagrams in the analysis stage, as well as sketches and

diagrams of the conceptual design In the schematic design stage the conventional views used to represent a building are site plan, floor plans, elevations, cross

sections, isometric & axonometric projections, and perspectives More detailed

plans, elevations and sections are further developed for the construction documents together with detailed drawings for foundations, structural system, landscape and

details, services (electrical, mechanical, sanitary) among others

That is not to say that drawings are the architect’s sole tool for communication,

models too are used to develop ideas and represent new designs

In view of the fact that the study of architectural design precedents is an important means to comprehend, criticize, and develop design abilities and skills, this

assignment takes advantage of a number of the prominent Egyptian architect

Hassan Fathy’s work of architecture

ASSIGNMENT

PART 1 (GROUP WORK)

Guided by the provided drawings of Hassan Fathy’s houses, each group of students

will make a maquette for ONE assigned house The constructed model is to be

accurate (conforms to drawings), neatly assembled, and of appropriate material A brief research on Hassan Fathy’s architecture (not to be submitted) should give

students an idea what materials to use for their maquette

PART 2 (INDIVIDUAL WORK)

Using the T squares and sets, on A2 sheets, each student is required to individually draw one plan, two elevations, and two sections Each of the elevations and

sections are to be projected from the plan, and guided by the provided drawings for heights and openings design It is allowed to draw grids and any necessary axis or guidelines

Note: - keep your grid lines, if any, as light as possible using only H or 2H lead

- any missing dimension could easily be deducted from the given drawings

TIMETABLE

2012 @ 11:45 to Studio tutors

DELIVERABLES

House maquette scale 1/50

A maximum of 4 A2 sheets including:

27 Architecture Studio & Briefs

Completeness Factor (CF) :(Elevations (35%), Sections (35%) & Plan (30%))

Final drawings grade = CF *( A+L+N+L)

28 Architecture Studio & Briefs