11119 Landscape Architecture Studio 1

Warning: The information on this page is indicative. The subject outline for a particular session, location and mode of offering is the authoritative source of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.

Subject handbook information prior to 2021 is available in the Archives.

UTS: Design, Architecture and Building: Architecture
Credit points: 12 cp
Result type: Grade and marks

There are course requisites for this subject. See access conditions.

Description

The architectural design studio provides the creative framework for students to explore the motivations, techniques, contexts, constraints and opportunities that inform design inquiry. Through each project brief, students learn to deploy various mediums, scales and strategies towards the elaboration of design proposals along with clear verbal and visual descriptions of the design intentions, physical and cultural contexts, and iterative processes that generated them.

The subject provides the introductory studio in the Bachelor of Design in Architecture (C10004) and Bachelor of Landscape Architecture (Honours) (C09079) studio sequence. The subject delivers the framework to learn essential techniques for the production of architectural propositions as well as important strategies in critical, synthetic and analytical thinking. The subject introduces students to the fundamental themes of drawing, scale, site, observation, abstraction, precision and translation, among others. These themes serve as a common knowledge base critical to the practice of architecture and landscape architecture as well as providing a primer to issues that students continue to face in the sequence of studios ahead.

Students develop an understanding of design thinking using both two- and three-dimensional, analogue and digital exercises, including reading, writing, sketching, mapping, multiple forms of drawing, model building, precedent analysis, direct observation and photogrammetry to build spatial literacy. Rigorous research and iterative design tactics enable students to translate concepts into spatial propositions and situate their proposals within broader contexts.

Subject learning objectives (SLOs)

1.	Creatively respond to the constraints and opportunities associated with a design brief (concepts, design mediums, scale/s, context/s and spatial ambitions).
2.	Use an iterative design process informed by critical reflection.
3.	Confidently execute architectural techniques and methods with appropriate precision and care.
4.	Engage with and contribute generously to a studio culture that enhances peer-learning and collective motivation through processes of collaboration, reflection and debate.
5.	Clearly communicate, both visually and verbally, the intentions and design processes that have generated a spatial proposal.

Course intended learning outcomes (CILOs)

This subject also contributes to the following Course Intended Learning Outcomes:

• Work cooperatively and productively as part of a team. (C.1)
• Communicate ideas professionally. (C.2)
• Create designs that respond to their context in formally or conceptually innovative ways. (I.1)
• Advance ideas through an exploratory and iterative design process. (I.2)
• Develop advanced skills for the production, presentation and documentation of work. (P.1)
• Generate solutions to complex problems through an exploratory and iterative design process. (P.2)

Teaching and learning strategies

Design Studio

Design studios are a distinctive component of your education. The term ‘studio’ refers to a particular type of physical space, a distinct approach to teaching and learning, and a particular set of working practices. These intersect to produce an environment in which making, experimentation, collaboration, discussion and display are highly valued. The studio will convene twice a week during the teaching session. This will be supplemented by a final review on Monday 31st of May (Assessment Week 1). Each teaching day includes a 1 hour lecture and 3 hours in the studio.

Supervised studio hours serve as the time to progress, discuss and review work under guidance from the subject’s teaching team. Students are expected to work throughout the length of each supervised studio session. When not engaged in one of the subject’s structured forms of teaching students should continue developing their work independently. Students must, therefore, come to each studio session prepared to both review the work done between supervised sessions and with the necessary equipment (paper, pens, modelling materials, cutting mats etc. as appropriate) to further progress the work in studio. Unprepared students will be recorded as absent.

For each supervised hour, it is anticipated that at least three unsupervised hours of work will be completed. This unsupervised work should include collaborative skill-sharing, feedback and discussion with peers and (ideally takes place primarily within the shared studio environment).

Assessment Tasks

The subject is structured around three assessment tasks that are undertaken in rotation. Each assessment task is defined by specific design questions, processes and deliverables outlined in individual project briefs. Lectures are used to introduce each assessment task and provide guidance on relevant techniques, theory and precedent. Assessment specific lectures are to be complemented by a general lecture series, introducing students to key deas, terms and theories. The content of these lectures will form the basis of discussions in the studio and is intended to expand the set of ideas that underpin all projects.

Beyond the briefs

Alongside producing work for the subject’s assessment tasks, there will be times throughout the session when students will be asked to undertake additional preparatory activities. These are designed to expand students’ understanding of architectural thinking and practice. Activities may involve reading an assigned text, independently visiting a project in Sydney (and beyond), or undertaking research in the UTS library. Beyond this, it is expected that students will demonstrate self-motivation through an expansive exploration of cultural production from within and beyond their discipline as well as continually expanding their own set of skills and production techniques. Although the outcomes of these activities may not be explicitly marked, if executed properly, they will positively contribute to a student’s academic development and improve the quality of work produced for the subject’s assessment tasks.

Communication

Design is an inherently social activity centred on the use of visual and verbal forms of communication. The success of the studio as a place for learning, design and experimentation is dependant on positive and constructive participation from all. Students will be expected to share their thoughts about their own work, the work of fellow students and the realised projects of accomplished designers, such as those shown in lectures.

Formative Feedback

Students will receive formative feedback for each assessment task. Formative feedback is provided during the learning process, when

work for an assessment task is in production. It takes the form of comments, suggestions and directions, given in class to help students refine and improve their work prior to submission. For this to occur students need to respond constructively to the feedback provided. This involves critically reflecting on advice given and, where necessary, altering their approach.

It will typically be provided verbally by the subject's teaching staff, but will also, on occasion, be provided by other students. It is delivered informally, either in conversation during a tutorial or in the course of discussion at the scale of the whole class. Students should keep a written record of the feedback they receive. If a student is confused about a particular aspect of their feedback they should seek clarification from the teaching team. Ideally this should be done when feedback is being delivered. Alternatively, clarification can be sought in person at the end of class or after class via email.

Summative Feedback

Each of the three formal assessment tasks will conclude with a student being assigned a grade and written summative feedback Summative feedback focuses on assessment outcomes. It is used to indicate how successfully a student has performed in terms of specific assessment criteria. It is provided in written form for all assessed work. It is published along with indicative grades online at UTS REVIEW. The content of summative feedback serves a number of purposes. It is intended to provide an explanation for the grade issued, reflecting on the quality of the work submitted and the student’s performance leading up to submission. Students are also provided with strategies for improving aspects warranting attention, or the further advancement of identified strengths. Students should direct any queries about summative feedback to the subject deliverer. In the first instance this should be done by email.

OPELA

An aim of this subject is to help you develop academic and professional language and communication skills in order to succeed at university and in the workplace. To determine your current academic language proficiency, you are required to complete an online language screening task, OPELA (information available at https://www.edu.au/research-and-teaching/learning-and-teaching/enhancing/language-and-learning/about-opela-students) [or a written diagnostic task]. If you receive a Basic grade for OPELA [or the written diagnostic task], you must attend additional Language Development Tutorials (each week from week [3/4] to week [11/12] in order to pass the subject. These tutorials are designed to support you to develop your language and communication skills. Students who do not complete the OPELA and/or do not attend 80% of the Language Development Tutorials will receive a Fail X grade.

Content (topics)

• Iterative and generative design processes

• Deterministic and indeterminate form generation

• Analogue and digital modelling techniques

• Representational forms and techniques for describing temporal and spatial characteristics.

• Skills of observation and interpretation

Assessment

Assessment task 1: ASSEMBLAGE

Intent:	The ability to evolve a design idea through successive tests, each recalibrated by critical evaluation, is a fundamental skill of a designer. Assemblage aims to develop this skill by beginning with a strictly formalised design process carried out first in two- and then three- dimensions. While the procedures are rigid, the possible results are extremely diverse and open-ended. As such, each successive test should embrace and amplify those aspects that make its predecessors unique while seeking out relevant reference projects in order to increase the specificity and clarity of the evolving set of design ambitions. The final result is to be understood as a spatial device dedicated to the production of a designed sequence of experiences revealed through a visitors motion. Inventing a vocabulary to verbally and visually describe the experiential characteristics of the ‘device’ in order to assist your own design decision-making as well as to describe and reveal your design intentions to others is a key requirement. If this is completed as your third and final project, this assessment will be assessed for English language proficiency. You will be directed to further language support after the completion of this subject if your language is below the required standard.
Objective(s):	This task addresses the following subject learning objectives: 1, 2, 3 and 4 This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.): C.1, I.2, P.1 and P.2
Type:	Project
Groupwork:	Individual
Weight:	33%
Criteria linkages:	Criteria Weight (%) SLOs CILOs ITERATION The sequence of assemblages follows an iterative design process where design intent is clear and each iteration builds upon lessons from the previous. The existence of errors, dead-ends or aborted tests is a positive indicator so long as appropriately evaluated and subsequently exceeded. 30 2 I.2 ELEMENTS AND COMPOSITION The definition and redefinition of the components and their placement has resulted in an assemblage with a unique and sophisticated character. The character does not appear ‘random’ but complex and systematic. The relationship between parts and the negative space between them and the page borders is considered. The ‘ground’ is considered as an essential element of the composition. 25 1 P.2 SPATIAL EXPERIENCE The assemblage has been designed and communicated as a spatial device. The types of experiential characteristics that each test poses has been analysed, documented and explained. A diverse set of experiences has been provided for and their sequence has been considered and improved through iteration. 25 1 P.2 PRECISION Work demonstrates an appropriate amount of care, effort, precision and ambition. 10 3 P.1 STUDIO CULTURE Contributes to collective outcomes, peer-learning, studio culture and in-class discussion through being attentive, engaged and positive. 10 4 C.1 SLOs: subject learning objectives CILOs: course intended learning outcomes

Assessment task 2: MAPPING PLACES

Intent:	This assessment task challenges students to reveal and respond to complex senses of place. Sustained, iterative and care-ful mappings that operate at the territorial scale as well as the personal scale will be developed to slowly unfold cultural-ecological complexity, strengthen connection to place and cultivate acts of care. Students will develop an understanding of mapping as a political act, develop skills in drawing landscape as a dynamic, layered and complex condition, develop agility in working across scales and develop an understanding of the relation between embodied experiences and drawn representations of places. If this is completed as your third and final project, this assessment will be assessed for English language proficiency. You will be directed to further language support after the completion of this subject if your language is below the required standard.
Objective(s):	This task addresses the following subject learning objectives: 1, 2, 3 and 4 This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.): C.1, C.2, I.1 and I.2
Type:	Project
Groupwork:	Individual
Weight:	33%
Criteria linkages:	Criteria Weight (%) SLOs CILOs ITERATION Individual: The materials produced demonstrate a committed, iterative, care-ful and sustained period of documentation. Drafts and layering of information continually build and reveal the complexity of place, and are refined to a legible conclusion. 30 2 I.2 DESIGN ACTION Individual: The documentation and design demonstrates an understanding of the concept of care informed by the complexity of place with attention to detail, and ingenuity. A clear concept of care is articulated and evidenced in the final mappings and the design proposition. 30 1 I.1 PRECISION Individual: Place is comprehensively, carefully and expressively represented, revealing complexity and using a range of relevant representational forms and techniques. The relationship across scales and between embodied and drawn mappings are clear. 30 3 C.2 STUDIO CULTURE Individual: The student contributes to collective outcomes, peer-learning, studio culture and in-class discussion through being attentive, engaged and constructive. 10 4 C.1 SLOs: subject learning objectives CILOs: course intended learning outcomes

Assessment task 3: GENERATIVE DRAWING

Intent:	AT3 Generative Drawing aims to introduce form generation processes that are not directly controlled by the designer. These processes will be materially driven, time-based and will further serve to investigate the role of change and the ephemeral in design. Project-specific representational techniques will need to be developed and tested in order to capture the behaviours, material qualities and characteristics that unfold over time. The final outcomes will include a ‘series’ of five or more curated outcomes that demonstrate the diversity of formal characteristics that the developed material system is capable of producing. Alongside this series, extremely precise drawings of the ‘ingredients’, the ‘apparatus’ and the ‘method’ that were combined to produce the series will be produced. In the best cases, the project will have proven inventive and will exceed the outlined objectives. If this is completed as your third and final project, this assessment will be assessed for English language proficiency. You will be directed to further language support after the completion of this subject if your language is below the required standard.
Objective(s):	This task addresses the following subject learning objectives: 1, 2, 3, 4 and 5 This task also addresses the following course intended learning outcomes that are linked with a code to indicate one of the five CAPRI graduate attribute categories (e.g. C.1, A.3, P.4, etc.): C.1, C.2, I.1, I.2 and P.2
Type:	Project
Groupwork:	Individual
Weight:	34%
Criteria:
Criteria linkages:	Criteria Weight (%) SLOs CILOs GENERATIVE ITERATION The major character of the works are ‘generative’ and result primarily from the specific material and process/ed deployed and would change significantly if either the material or the process was exchanged with another. The collected works could not have been drawn directly. An iterative design process is pursued, defined by critical reflection, that works with the material’s inherent characteristics rather than against or in spite of them. 30 2 I.2 CURATED DIVERSITY The ‘drawing machine’ is calibrated to register a chosen phenomenon with a high degree of granularity, accounting for a variety of different characteristics. The diverse possibilities of the medium, substrate, technique and apparatus are apparent in the series and design decisions have been made to determine when and how the differences appear across the series. 20 5 I.1 CHANGE & DURATION The generative drawing system deploys material in such a way that it continues to generate new form/s throughout a considerable duration. The total duration may vary as appropriate in relation to the speed of change ie more rapidly changing processes may not continue for as long as systems that transform more slowly. 20 1 P.2 DOCUMENTATION The work and the intentions and processes that lead to it are clearly visually and verbally described. Relevant precedents have been found, responded to and their contribution is explained. The work is contextualised. The process is comprehensively documented using techniques relevant for representing indeterminate form, change and time. 20 3 C.2 STUDIO CULTURE Contributes to collective outcomes, peer-learning, studio culture and in-class discussion through being attentive, engaged and constructive. 10 4 C.1 SLOs: subject learning objectives CILOs: course intended learning outcomes

Minimum requirements

Attendance

The Faculty of DAB expects students to attend at least 80% of the scheduled contact hours for each enrolled subject.

Achievement of subject aims is difficult if classes are not attended. Where assessment tasks are to be presented personally in class, attendance is mandatory.

Pursuant to “UTS Rule 3.8.2”, students who do not satisfy attendance requirements, may be refused permission by the

Responsible Academic Officer to be considered for assessment for this subject.

Qwickly Attendance will be used to keep a record of lecture attendance. Students are required to 'check-in' online during the first 10 minutes of each lecture.

Students who are unable to attend for personal reasons (e.g. sickness) are to notify the subject's coordinators by email on the day of absence.

Late and Incomplete Assignments

Assignments submitted after the due time/date will incur the late penalties listed below unless a formal extension of time has been granted by the Subject Coordinator. This should be approved BEFORE the submission deadline where possible. Work submitted more than 5 working days after the stated submission date, will not be accepted for assessment unless a formal extension of time has been granted by the Subject Coordinator on receipt of a Special Consideration Form. (Please refer to the “Exemptions and Absence” and “Special Consideration” sections of the DAB Subject Information Book).

Work submitted up to 5 days* later than the deadline should have an “Extensions and Absence form” attached (with appropriate Doctor’s Certificate or equivalent documentation). Depending on the circumstances, the Subject Coordinator may apply the following penalties:

Up to 1 day late: 10% late reduction **(24 hours from the specified deadline)

Up to 2 days late: 20% late reduction

Up to 3 days late: 30% late reduction

Up to 4 days late: 40% late reduction

Up to 5 days late: 50% late reduction

Over 5 days late: NOT ACCEPTED

• The 10% per day penalty is applied to the mark that would have been received if the submission had been on time.

• Any work submitted after 5 working days late would need a ‘Special Consideration’ document to be accepted for

assessment.

• Students cannot expect to receive verbal or written feedback for work submitted more than 5 days late.

* If equipment or software is not available for students to complete the late work, then the Subject Coordinator may

decide to exclude weekends from the number of days late in calculating the penalty.

** Where no exact time is specified for a deadline it will be assumed that the deadline is 9am on the date specified.

OPELA

It is a requirement of this subject that all students complete OPELA [or a written diagnostic task]. Students who received a Basic grade in the OPELA [or the written diagnostic task] are required to attend 80% of the Language Development Tutorials in order to pass the subject. Students who do not complete the OPELA and/or do not attend 80% of the Language Development Tutorials will receive a Fail X grade.

Required texts

Where relevant reading lists will be provided with each assessment brief.