Detail in contemporary landscape architecture pdf download

It is typically the first element to be installed because it sometimes requires earthmoving and underground piping.

Protecting resources also includes the use of environmentally friendly hardscape materials and non-toxic preservatives, stains, paints, and cleaners. Reusing construction materials will reduce the environmental impact of using new materials and keep old materials out of the waste stream. Before any demolition starts on your old patio, pool deck, arbors, or structures, consider how you might reuse the material in your new design. In addition to helping the environment it will also help your budget.

If you will not be doing any demolition work in your yard, look for other sources of used material in your community. Your yard is a very important natural resource that adds value to your home and enjoyment to your life. It contributes to a desirable, healthy community. Several important concepts will help you create an aesthetically pleasing, functional, and sustainable design.

First remember to put your ideas on paper: create a design plan. Use the design process to identify and understand your site and your needs.

Use a theme to guide your decisions; professional designers always look to the existing conditions for inspiration and material and plant choices. Create spaces that serve as outdoor rooms-this is an essential concept of design-both for functionality and psychological comfort human scaled spaces are the most desirable.

Use plant material to create the walls, ceilings and floors of the rooms for a physically comfortable microclimate. Remember that plants change over time, plan for this and you will find that observing the changes is one of the most rewarding aspects of your garden. In many of our urban areas private yards represent the last remnants of green space, think about how your yard fits into the big picture and what you can do to have a positive impact on the environment in your neighborhood.

Austin, R. Elements of Planting Design. New York, NY. Bertauski, T. Pearson Education, Inc. Upper Saddle River, New Jersey. Booth, N. Basic Elements of Landscape Architectural Design.

Waveland Press, Inc. Prospect Heights, Illinois. Chaplin, L. Landscaping, Southern Living Garden Guide. Oxmoor House Inc. Birmingham, Alabama. Erler, C. Upper Saddle River, NJ. Holmes, R. Creative Homeowner: Southeast Home Landscaping.

Levy, C. The Taunton Press, Inc. Newtown, CT. Scarfone, S. Smith, C. Blackwell Publishing, Oxford, UK. Original publication date December Home Experts Topics. The Design Process The five steps of the design process include: 1 conducting a site inventory and analysis, 2 determining your needs, 3 creating functional diagrams, 4 developing conceptual design plans, and 5 drawing a final design plan.

Figure 1. Sun and shade patterns. Figure 2. Site inventory. Figure 3. Current use areas. Figure 4. Proposed use areas. Figure 5. Naturalistic form theme. Figure 6. Formal style theme. Figure 7. By acknowledging the pressures and pains of our political moment -- a time of crisis for many in our city and nation, but also a long-awaited reckoning with issues of social justice -- this course engages the complex history of race and racial injustice in St.

Louis through site- and story-based exploration. It offers an opportunity to learn about the city's landscape, history, systems, culture, form and identity while wrestling with fundamental questions of power, positionality and perspective. Credit 1. Art : CPSC. This introductory architectural design studio engages the basic principles of architectural context, composition and experience.

Through various fieldwork strategies, students explore architectural context through observation, analysis and invention. The site-specific design processes bridge two-dimensional and three-dimensional work, including drawing, drafting and making.

The experiential qualities of architecture are introduced through basic considerations of scale and human interaction. The course work includes studio, work, lectures, presentations by students, readings, writing assignments and field trips.

This core design studio engages the basic principles of architectural design through iterative processes of drawing and making, using a variety of tools, media and processes. The course work includes studio work, lectures, student presentations and local field trips. Prerequisite: A grade of C- or better in Arch or co-registration in Arch This introductory design studio course engages the basic principles of architectural context, composition and experience.

Using the theme of Drawing and Observing, the studio integrates design and drawing to challenge the students to observe the world more carefully, creating narrative drawings that serve as a foundation for design proposals. Throughout the semester, students will engage various design processes -- including freehand drawing, collage, orthogonal projection and model making -- that will serve as a window into the field of architecture.

The projects include design proposals for small structures in public spaces, such as pavilions or urban furniture, which emphasize the experiential qualities of architecture and the basic considerations of building scale, human interaction, inhabitation and empathy. Using observation, analysis and invention, the class sessions alternate between drawing and making, constantly bridging two-dimensional and three-dimensional work. Course work includes drawings, models, and drawing in studio and on-site.

Architecture for Non-Architects introduces non-architecture students to the process through which architects think about, view and produce the built environment. This new course is meant to serve as an alternative to the traditional studio instruction in the major, thus allowing students who are curious about architecture to experience it without the demands and commitment of major courses.

If a student decides to transfer into the architecture major later on, they will meet with the architecture minor lead advisor to jointly propose a planned course of study that addresses any missing credits and foundational skills required for successful completion of the architecture major. This foundational course proposes a combination of readings, class discussions and research that will be used to inform the design process.

Field trips will initiate students into the act of seeing by challenging them to observe, interpret and critically engage with the built environment "the site" and those who are affected by it "the stakeholders" in specific scalar and temporal contexts.

Credit 3 units. This course offers first-year students in the College of Architecture an introduction to the subjects, theories, and methodologies of the disciplines of architecture, landscape architecture, and urban design.

Examples drawn from a range of both historical periods and contemporary practice highlight distinct processes of thinking and working in each discipline as well as areas of intersection and overlap. This course offers first-year students in the College of Architecture an introduction to the subjects, theories, and methodologies of the disciplines of art, design, architecture, landscape architecture, and urban studies. Examples drawn from a range of historical periods as well as contemporary practice highlight distinct processes of thinking and working in each discipline, as well as areas of intersection and overlap.

Examples drawn from a range of historical periods as well as from contemporary practice highlight distinct processes of thinking and working in each discipline while at the same time highlighting areas of intersection and overlap.

This course offers studio exercises that emphasize three-dimensional design issues: problem solving, materials, structure, fracture, spatial relationships and systematic processes of design. This studio course will engage students in the process of design with an emphasis on creative thinking.

There will be informal group and individual discussions of each person's stages in inquiry. The investigations will take the form of study models made of recycled materials. Guest lecturers will participate throughout the semester. The concluding project for the semester will allow each student to work with their unique academic and personal interests, utilizing the process of lateral thinking.

Course fee is applied to cost for mandatory fingerprint background check. Introduction to Design Processes III engages design through the lens of perception by investigating the relationship between materiality and inhabitable space situated in a natural context.

Prerequisites: successful completion of Arch and Arch with a grade of C- or better or successful completion of Arch with a grade of C- or better. Studio course that initiates architectural and building issues such as building analysis, structure, organizational systems, and programming.

Prerequisite: successful completion of Arch B with a grade of C- or better. Studio which initiates architectural and building issues such as: building analysis, structure, organizational systems, and programming. Prerequisites: successful completion of Arch C with a grade of C- or better.

This course builds on the investigations of A46 X Community Building and concentrates on the economic, political and social dynamics shaping neighborhoods. In order to ground discussions in reality, the class immerses itself in the urban laboratory of St.

Louis while relating local issues to broader trends. A survey of the paradigms of American urban design and planning will provide an overview of the creative strategies and ongoing contradictions of redevelopment in the 21st century. Students will be exposed to a range of research methods for understanding deep, relational, political and legalistic dynamics shaping communities.

This course introduces students to the contemporary global characteristics of design in the late 20th and 21st century. The marketing, fabrication, distribution and consumption of design is global, yet the cultural and formal identity of most design products are national and regional. How do traditions of design and quality based on centuries of a national and regional design culture react and adapt to a global market?

What is the culture of design? What is design identity? Italian design is the primary focus of this course, followed by Japanese and Asian design and manufacturing. Case studies include examples of industrial design, fashion design, communication design and automobile design.

The course also includes presentations by design curators and representatives of various international design companies. This course covers Italian grammar and conversation for study abroad students in Florence.

Taught entirely in Italian. There is an emphasis on class participation accompanied by readings and writings. The student develops facility speaking the language on an everyday basis. Same as F20 ART The seminar will meet eight times over the course of the semester. Attendance is mandatory for students going abroad.

Credit 1 unit. This service learning experience allows Washington University students to bring their knowledge and creativity about the many subjects they are studying to students at the Compton-Drew Middle School, adjacent to the Science Center, in the City of St. During the last two thirds of the semester Washington University students will be on-site during the Compton-Drew school day, once a week on each Monday from a.

This course is open to freshmen, sophomores and juniors. This is an intensive three-week course that sets students up to enter the first of a two-semester studio sequence. The first-year sequence introduces students to architectural design, focusing on conceptual, theoretical, and tectonic principles.

Enrollment is open to first-semester MArch 3 students only. Drawing is a fundamental act that is intrinsic to who we are as visual designers, visual thinkers, visual learners, visual problem solvers, and visual communicators.

We drew even before we could write. It is an integral part of a design process and foundational to how we navigate the digital world. This course will explore all these aspects of drawing and its role in today's culture.

It is a hands-on course that allows students to explore and experiment with a variety of representational media, including freehand drawing, rendering, and digital drawing. An emphasis will be put on drawing as a way of searching for and discovering design solutions. The majority of the drawings produced will not be ends in themselves as finished products; rather, drawing will serve as a process-driven medium for exploring new ideas and design solutions.

This course will explore architectural detailing from the quotidian to the sublime to posit architectural design intent. Through fieldwork and research, students will study the role of architectural detailing in the configuration and execution of architectural space making. Students will be asked to carefully observe their own constructed environment and architectural precedents to understand the truth and fiction in construction. This course seeks to help students understand the role of the architectural detail in articulating and reinforcing architectural concepts.

It will strengthen the student's understanding of material properties, opportunities and limitations, construction sequencing, and design execution. Students will gain a new appreciation for the exquisitely executed architectural detail and strengthen the skill to anticipate and navigate detailing challenges in their own design work. Students will be asked to explore architectural details through various drawing methods, modeling, and modes of representation. This course is open to architecture students at all levels with an interest in drawing and realizing architecture as a constructed practice.

This course looks at the intersection of the built fabric and the social fabric. Using St. Louis as the starting point, this course takes students out of the classroom and into a variety of neighborhoods — old, new, affluent, poor — to look at the built environment in a variety of contexts and through a variety of lenses.

Almost every week for the first half of the semester, students visit a different area or areas , each trip highlighting some theme or issue related to the built environment architecture, planning, American history, investment and disinvestment, community character and values, race, transportation, immigrant communities, future visions, etc. Running parallel to this, students are involved in an ongoing relationship with one particular struggling neighborhood, in which students attend community meetings and get to know and become involved with the people in the community in a variety of ways.

Students learn to look below the surface, beyond the single obvious story, for multiple stories, discovering their complexity, contradictions and paradoxes. They also come to consider the complex ways in which architecture and the built environment can affect or be affected by a host of other disciplines. College of Architecture and College of Art sophomores, juniors, and seniors have priority. Fulfills Sam Fox Commons requirement.

CET course. What does it mean to engage in community as a creative practitioner? Community engagement must be grounded in authentic relationship building and an ability to understand and act within the historic context and systems that impact communities. We will practice the skills of listening, observation, reflection, and improvisation. We will cultivate mindsets that focus on community assets and self-determination. Workshops will teach facilitation and power analysis, with the intention of upending the power dynamics between community and creators.

This course pairs with "Engaging St. This course addresses the complex economic, political and racial landscape of north St. Louis County focused on Ferguson, Missouri, as the embodiment of problems and conflicts endemic to urban communities across the country. The events following Michael Brown's shooting death on August 9, , have revealed deep divisions in the St.

Louis metropolitan area. Our multidisciplinary approach will be evident as we investigate the intersecting, compounding roles of social and economic inequities, racial disparities, white flight, public safety, housing, and economic development as we grapple with legitimate, thoughtful ways of making positive change.

We'll learn how to listen to, understand, and address conflicting voices. Readings, speakers, site visits, films, and other materials will be combined with discussion, writing, and socially conscious engagement as we seek to understand the many faces of Ferguson while following contemporary developments as they occur.

Professor Robert Hansman acts as advisor and guide. This course offers fresh perspectives and provides unique opportunities for community engagement for students who have previously taken Community Building; however that course is not a prerequisite.

Projects develop collaboratively and organically between students, faculty, and community partners working to find common values and beliefs upon which to build concrete, meaningful action. This architectural design studio is a final course in the five-semester core studio sequence. It focuses on rigorous design development, from a conceptual exploration of an idea to a detailed building design. Prerequisites: successful completion of the four-semester core design studio sequence, including Arch B, with a grade of C- or better.

Concurrent registration in Building Systems I required. It is said that, at this time in history, the entire country must make a commitment to improve the positive possibilities of education.

We must work to lift people who are underserved; we must expand the range of abilities for those who are caught in only one kind of training; and we must each learn to be creative thinkers contributing our abilities to many sectors of our society. In this course, we will expand our views about learning by experimenting with the creative process of lateral thinking. We will learn about learning by meeting with some brilliant people at the university and in the St.

Louis community who are exceptional in the scholarly, professional, and civic engagement work they are accomplishing. We will learn about learning by working in teams to develop exciting curriculum based upon the knowledge and passion that students bring from their academic studies and range of interests for middle-school students from economically disadvantaged urban families. Each week of the semester, we will learn about learning by providing one-hour 2D and 3D hands-on problem-solving workshops for middle-school students at the Compton-Drew Middle School, which is adjacent to the Science Center in the city of St.

Students and their Washington University teammates will implement the workshops they create throughout the semester for a group of six to eight Compton-Drew Middle School students. In this course, we celebrate the choices of the studies we each pursue, and we expand our experience in learning from each other's knowledge bases and from each person's particular creativity in the area of problem solving.

This course seeks students from all disciplines and schools, from first-year students through seniors. This course will focus on monotype mixed media printmaking using both a press and digital print processes. The course is designed to be responsive to current issues with a focus on contemporary printmaking practices and various ideas about dissemination in the age of social media.

The course will include an examination of historical examples of diverse global practices; prints made in periods of uncertainty, disruption, war, and disaster; and speculative projects by architects such as Superstudio, Zaha Hadid Architects and Archigram. Students will be expected to create a series of work with a conceptual framework developing a personal visual language.

Art : FAAM. Students design and build human-powered vehicles from discarded bicycles. The course collaborates with student mechanics involved with Bicycle Works Bworks. Bworks collaborates in teams with Washington University students to design and build the work. The first of a three-semester sequence that introduces students to architectural design, focusing on conceptual, theoretical, and tectonic principles. For first-semester MArch 3 students only.

The first of a two-semester sequence that introduces students to architectural design, focusing on conceptual, theoretical, and tectonic principles. Photography offers ways of seeing and representing the world around us. This course provides technical and conceptual frameworks for understanding architectural space as seen through the camera. Topics include building as site, landscape as context, and the architectural model as a representation tool.

Students are introduced to a wide range of artists and architects, helping build a unique camera language to support their individual projects. Students will learn DSLR camera basics, fundamentals of Photoshop, digital printing techniques and studio lighting for documenting architectural models.

The course assumes no prior experience with digital imaging technologies or materials. Digital camera required. The second of a three-semester sequence of design studios. This course continues the examination of issues raised in Arch For second-semester MArch 3 students only. The second of a three-semester sequence of core design studios, which continues the examination of issues raised in ARCH Enrollment is open to second-semester MArch 3 students only.

The objective is to develop the requisite discipline, accuracy, and visual intelligence to conceptualize and generate a relationship between space and form.

The course focuses on two concurrent tasks: first to outline and analyze the historical development of representational logics and their impact on architectural ideation, and second to explain the codification and usage of specific geometries, including orthographic and isometric projection, central and parallel perspective, and architectural axonometric.

We will see that, rather than a translation of reality, representation operates between perception and cognition as a transcription of reality and is thus a powerful instrument in the design and making of architecture.

The relationship between the drawing forms and the tools used to produce them are brought into focus as manual, digital, photographic and physical applications driven by drawing intentions. The objective is to develop the requisite discipline, accuracy and visual intelligence to conceptualize and generate a relationship between space and form. The course focuses on two concurrent tasks: first, to outline and analyze the historical development of representational logics and their impact on architectural ideation, and second, to explain the codification and usage of specific geometries, including orthographic and isometric projection, central and parallel perspective, and architectural axonometric.

We see that, rather than a translation of reality, representation operates between perception and cognition as a transcription of reality and is a powerful instrument in the design and making of architecture. Emphasis is on participation and excessive absences are noted.

Please note: The second half of the semester focuses on computing, for which each student is required to have a laptop computer. This course will focus on fabrications both real and virtual.

The ubiquity of computers in design, studio art, communications, construction and fabrication demand that professionals become comfortable with their use. It is also important in a group of ever-specializing fields that one knows how to translate between different software and output platforms.

This comfort and the ability to translate between platforms allow contemporary artists and designers to fabricate with ever-increasing freedom and precision. This course will introduce students to 3D software with a focus on 2D, 3D, and physical output. Through a series of projects, students will learn to generate work directly from the computer and translate it into different types of output.

Starting from first principles, this course will cover the basics from interface to output for each platform used. This course will also familiarize students with a range of CNC technology and other digital output for both small- and large-scale fabrication. The course will be broken into three projects.

In the first project, students will focus on computer-generated geometry and control systems. In the second part, students will generate physical output and line drawings. The final project will focus on rendering, context and cinematic effects.

The software covered in this course includes, but is not limited to: Rhinoceros 3D, Maya, Illustrator, Photoshop. Digital Representations introduces students to digital modeling and fabrication, parametric workflow, and various 2D and physical output techniques. Starting from first principles, this course begins with the basics from interface to output for each platform used, developing skills in digital modeling and physical output and serving as a prerequisite for more advanced courses in design scripting and digital fabrication.

Students complete a semester-long project divided into three assignments, beginning with developing a detailed digital model of a formal precedent, which introduces students to basic skills in modeling with nurbs, subdivision surfaces, and meshes. Continuing to develop a clear diagrammatic organization and hierarchy, students expand the characteristics of their original formal precedent using Grasshopper to create a set of dynamic, flexible behaviors.

Drawing upon their initial understanding and analysis of organizational systems within their formal object, students transfer their observations into the construction of a spatial parametric model that has potential to serve structure, fabrication methods, and material assembly. Finally, students develop their digital model into a geometrically rationalized material system that draws upon their initial precedent, producing a physical model, renderings, and 2D drawings presented in the format of a final review.

MTF chart guide. Water-repellent, Antistatic type. Protector is developed to protect the lens surface from dirt and dust as well as scratches. It is an ideal filter for regular use as it is completely colorless so does not affect color reproduction. Normal type. UV Water-repellent, Antistatic type. UV filter prevents the bluish tone that generates when the weather is fine, by absorbing ultraviolet rays.

It is effective in most situations, such as landscape, portrait and general photography on a sunny day. It is also an ideal filter for regular use as it is completely colorless so does not affect color reproduction.

PL Water-repellent, Antistatic type. Circular PL filter removes the reflection of water surface and glass windows, and increases the contrast in landscape photography. I took it with me everywhere without a second thought, to the beach, on nighttime walks, and even to the top of the ferris wheel. Looking at the pictures afterwards made me pause when I saw how sharply the lens captured the intricacies of the scenes.

The all metal housing is robust and absolutely beautiful to look at. It also provides great haptic feedback, which I enjoy immensely. Also the image quality and the handling are very impressive on both camera systems.

The results are mind — blowing, to be honest. See the bigger picture. The all-new 24mm F2 DG DN Contemporary delivers exceptional edge-to-edge rendering power in an ultra-compact, all-metal body. I series Premium Compact Primes for mirrorless users. Read more.

Structural engineers can also adjust or add new loads in the Archicad model. Exchange structural models between Archicad and FRILO with a simple click — and no risk of sharing outdated information. Archicad 25 makes creating great architecture easier in many small ways — offering a significant boost in convenience, accuracy, and efficiency.

Working in 3D, but need to edit a component in 2D? Simply select the element and open it in any other view. Moving back and forth between 2D and 3D is just as easy. Get accurate quantity estimates with customizable polygonal openings that will fit your MEP elements exactly. Leverage the power of the industry-leading free-form organic design tool, then switch to Archicad to continue the design development and documentation processes.

The existing Along Arc geometry method is still available and can be used with either algorithm. Quickly and easily define and edit custom stairs that follow your design intent thanks to a new stair winder option called Turning Point — Asymmetric Going.

Automatically distribute the extra landing length equally from the landing start, middle, or end. This is especially useful when adapting an existing staircase to a changing design environment.

In addition to checking for duplicate and fully overlapping elements, Archicad can now check for partially overlapping model elements as well. Deliver models with full confidence using this Technology Preview feature!

Bring your models to life, inspire the audience, and invite stakeholders to immerse themselves in your designs. Communicate your design in life-like detail. Display your surface textures directly in section and elevation views in Archicad without the use of additional editing software.

Present your design with accurate, artistic details. Use soft shadows to add contours and depth to your surfaces in section and elevation views. Overlay textures with the pattern fill of your choice. Your client gets a better picture of the model, and you benefit from faster approval.

Metal has near-direct access to the graphics processing unit, resulting in faster rendering speeds. Introducing Redshift by Maxon for Archicad Redshift offers a suite of powerful features tailored to support creative individuals and practices of every size.

Control the level of grass texture detail to achieve high quality renders for close-ups or reduce it for faster landscape renders.