《设计基础》课程教学资源（电子图书）Diagramming the Big Idea——Methods for Architectural Composition

Diagramming the Big Idea METHODS FOR ARCHITECTURAL COMPOSITION Jeffrey Balmer Michael T.Swisher r的f的rio e066d 之 www.ebook3000.com

Diagramming the Big Idea methods for architectural composition Jeffrey Balmer & Michael T. Swisher www.ebook3000.com

DIAGRAMMING THE BIG IDEA As a beginning design student,you need to learn to think like a designer,to visualize ideas and concepts,as well as objects.In Diagramming the Big Idea, Jeffrey Balmer and Michael T.Swisher illustrate how you can create and use diagrams to clarify your understanding of both particular projects and orga- nizing principles and ideas.With accessible,step-by-step exercises that inter- weave diagrams,drawings and virtual models,the authors clearly show you how to compose meaningful and useful diagrams. As you follow the development of the four project groups drawn from the authors'teaching,you will become familiar with architectural composition concepts such as proportion,site,form,hierarchy and spatial construction.In addition,description and demonstration essays extend concepts to show you more examples of the methods used in the projects.Whether preparing for a desk critique,or any time when a fundamental insight can help to resolve a design problem,this book is your essential studio resource Jeffrey Balmer is an assistant professor of architecture at the University of North Carolina at Charlotte. Michael T.Swisher is an associate professor of architecture at the University of North Carolina at Charlotte. www.ebook3000.com

Jeffrey Balmer is an assistant professor of architecture at the University of North Carolina at Charlotte. Michael T. Swisher is an associate professor of architecture at the University of North Carolina at Charlotte. DIAGRAMMING THE BIG IDEA As a beginning design student, you need to learn to think like a designer, to visualize ideas and concepts, as well as objects. In Diagramming the Big Idea, Jeffrey Balmer and Michael T. Swisher illustrate how you can create and use diagrams to clarify your understanding of both particular projects and orga￾nizing principles and ideas. With accessible, step-by-step exercises that inter￾weave diagrams, drawings and virtual models, the authors clearly show you how to compose meaningful and useful diagrams. As you follow the development of the four project groups drawn from the authors’ teaching, you will become familiar with architectural composition concepts such as proportion, site, form, hierarchy and spatial construction. In addition, description and demonstration essays extend concepts to show you more examples of the methods used in the projects. Whether preparing for a desk critique, or any time when a fundamental insight can help to resolve a design problem, this book is your essential studio resource. www.ebook3000.com

DIAGRAMMING THE BIG IDEA Contents Foreword ix Acknowledgements xi甜 1-Introduction 1 6-Conventions in design 127 GLOSSARY 9 GLOSSARY 138 DESCRIPTION 1 ORDER MEASURE 11 DESCRIPTION 6:AXIS PATH 139 DEMONSTRATIONS 11-4 9 7-Starting in three dimensions 145 2-Sorting through ideas 19 GLOSSARY 164 GLOSSARY 16 DESCRIPTION 7:SPATIAL SYSTEMS 165 DESCRIPTION 2:THE ESSENTIAL HUT 27 DEMONSTRATIONS 2-1&2 29 8-Precedent in two dimensions 171 GLOSSARY 188 3-Order first 33 GLOSSARY 42 9-Precedents in three dimensions 193 DESCRIPTION 3:ORDER, GLOSSARY 209 ORIENTATION THE ORTHOGONAL 罗 DEMONSTRATIONS 31&2 45 10-Color material in diagrams 211 GLOSSARY 222 4-Design drawing fundamentals 55 DEMONSTRATION 10-1 225 GLOSSARY 75 DESCRIPTION 4:THE COURTYARD Glossary of Terms 233 DEMONSTRATIONS 41-3 81 Index 240 5-Building on proportion 95 GLOSSARY 109 DESCRIPTION 5:FIGURES FIELDS DEMONSTRATIONS 51-3 115 www.ebook3000.com

DIAGRAMMING THE BIG IDEA Contents Foreword ix Acknowledgements xiii  – Introduction     :      ·–   – Sorting through ideas     :      ·     – Order first     : ,       ·     – Design & drawing fundamentals     :     ·–   – Building on proportion     :      ·–   – Conventions in design     :      – Starting in three dimensions     :     – Precedent in two dimensions     – Precedents in three dimensions     – Color & material in diagrams     ·  Glossary of Terms  Index  www.ebook3000.com

FOREWORD Architects don't make buildings Architects make diagrams not buildings.Most of these diagrams organize the details of how someone else will make the building and architects refer to them as drawings.Even as we drift toward the virtual,designers refer to the building's documents-its'blueprints'-as contract drawings.However,if we wish to be accurate we would deem even these as diagrams-defined in the Oxford English Dictionary as'Figures composed of lines,serving to illustrate a definition or statement,or to aid in the proof of a proposition." Architects draw lines to define a proposition.The proposition is architecture. History Most books have a story behind their writing.Ours begins four years ago with an epiphany-a realization that,in the absence of any specific instruction, schools expect architecture students to know how to diagram.Given its fun- damental role in design,Jeff discovered-much to his surprise-the absence of useful texts on diagramming.He suggested to Michael that such a book needed writing. Michael meanwhile completed What We Do Now,a treatise on our first- semester curriculum.As a painter,he believed that a primer on diagramming must also include the fundamentals of visual composition.Together,we real- ized that the issue went further than that of diagrams.Our entire system of education values text over image-it neither celebrates nor cultivates visual aptitude.As a result,novice architecture students confront enormous chal- lenges,faced as they are with an entirely unfamiliar mode of knowledge- what we call design thinking. Beyond the immediate purview of problem solving,design comprises a search for possibilities.As described throughout this book,design thinking defines a method for engaging the world through observation and analysis. For designers,observation is necessarily extra-verbal,even when we stress the requirement to articulate our findings.Design analysis,though methodical,is seldom linear.It requires the synthesis of deductive and imaginative reason- ing,both shrewd scrutiny and fevered speculation. The result of our discussions led us to focus on diagramming-making vis- ible the abstractions that order and support the phenomena of the built envi- ronment.Moreover,as the diagram shares conceptual space with the PARTI, we adopt the'Big Idea'as a foil and as a suitcase to package student learn- ing.Above all,our goal is to make explicit to students what they are learning, why they are learning it and how to internalize such lessons for their lifelong development as designers. www.ebook3000.com

FOREWORD Architects don’t make buildings Architects make diagrams not buildings. Most of these diagrams organize the details of how someone else will make the building and architects refer to them as drawings. Even as we drift toward the virtual, designers refer to the building’s documents – its ‘blueprints’ – as contract drawings. However, if we wish to be accurate we would deem even these as diagrams – defined in the Oxford English Dictionary as ‘Figures composed of lines, serving to illustrate a definition or statement, or to aid in the proof of a proposition.’ Architects draw lines to define a proposition. e proposition is architecture. History Most books have a story behind their writing. Ours begins four years ago with an epiphany – a realization that, in the absence of any specific instruction, schools expect architecture students to know how to diagram. Given its fun￾damental role in design, Jeff discovered – much to his surprise – the absence of useful texts on diagramming. He suggested to Michael that such a book needed writing. Michael meanwhile completed What We Do Now, a treatise on our first￾semester curriculum. As a painter, he believed that a primer on diagramming must also include the fundamentals of visual composition. Together, we real￾ized that the issue went further than that of diagrams. Our entire system of education values text over image – it neither celebrates nor cultivates visual aptitude. As a result, novice architecture students confront enormous chal￾lenges, faced as they are with an entirely unfamiliar mode of knowledge – what we call design thinking. Beyond the immediate purview of problem solving, design comprises a search for possibilities. As described throughout this book, design thinking defines a method for engaging the world through observation and analysis. For designers, observation is necessarily extra-verbal, even when we stress the requirement to articulate our findings. Design analysis, though methodical, is seldom linear. It requires the synthesis of deductive and imaginative reason￾ing, both shrewd scrutiny and fevered speculation. e result of our discussions led us to focus on diagramming – making vis￾ible the abstractions that order and support the phenomena of the built envi￾ronment. Moreover, as the diagram shares conceptual space with the , we adopt the ‘Big Idea’ as a foil and as a suitcase to package student learn￾ing. Above all, our goal is to make explicit to students what they are learning, why they are learning it and how to internalize such lessons for their lifelong development as designers. www.ebook3000.com

FOREWORD The structure Our first-year program uses a project structure that follows an intentional skills-based sequence.We articulate design projects as daily tasks that teach specific skills,with a reasoned sequence of design strategies and tactics as context.Skills are thus central to method.The context of strategies and tac- tics represents an unabashed entreaty for order.We teach our students how to make things through order and pattern.Moreover,we teach them in a transparent,illustrative manner,responsive to feedback.That order,in turn, defines the architecture of our learning outcomes. On a practical level,the assignments embody several broad concepts or procedural themes.We organize them through recursive development.The lessons build an increasingly complex matrix of design experience.The basic structure of the first semester follows three procedural themes and moves from figure-ground,to plan and proportion,and thence to structure and vol- ume.In the second semester,we turn to the study and use of precedent and companion issues of site and landscape. Educational intent The structure of both our teaching and this book also reflects our audience- students beginning the study of architecture.This leads to three important considerations. Where do the students come from? 。 Where do they need to go? What skills and capacities do they need to construct a suitcase for the trip? Because students do not arrive uniformly equipped for the study of archi- tecture,it is of paramount importance that their first course of study fur- nishes a consistent preparation.Those familiar with the language of instruc- tional design will recognize this as a request for probable outcomes.After all, if we must judge students on how well they accomplish tasks,we ought to define those tasks clearly.In the studio and this book,tasks-as practices- commingle with defined skills. The first skills discussed in our narrative address higher-order concept skills With roots in the literature of visual psychology,they focus on the percep- tion and implementation of order.Order leads to pattern and ideas of pattern. Thus,our first discussions confront recognizing patterns and pattern systems, identifying useful strategies and tactics,and diagramming patterns with par- ticular intent. Mastery of design thinking takes more time than any single course can pro- vide.However,the capacity for judging order in a constructed environment builds from simple cognitive steps using diagrams.In this book,those steps include:inferring structure from formal order,recognizing scale within struc- ture and imagining space through visualizing order-all of which lead to an understanding of architecture. The role of examples One of the tools present throughout our first-year program is the deliberate and extensive use of images and models as exemplars for the project sequence. Models and drawings-digital and hand-made-form a particular background for the daily assignment and lectures.Together with photographs,they pro- vide a consistent visual reference for study.After nearly seven years there are a lot of them-at last count over six thousand.This profusion led us to begin

x  The structure Our first-year program uses a project structure that follows an intentional skills-based sequence. We articulate design projects as daily tasks that teach specific skills, with a reasoned sequence of design strategies and tactics as context. Skills are thus central to method. e context of strategies and tac￾tics represents an unabashed entreaty for order. We teach our students how to make things through order and pattern. Moreover, we teach them in a transparent, illustrative manner, responsive to feedback. at order, in turn, defines the architecture of our learning outcomes. On a practical level, the assignments embody several broad concepts or procedural themes. We organize them through recursive development. e lessons build an increasingly complex matrix of design experience. e basic structure of the first semester follows three procedural themes and moves from figure-ground, to plan and proportion, and thence to structure and vol￾ume. In the second semester, we turn to the study and use of precedent and companion issues of site and landscape. Educational intent e structure of both our teaching and this book also reflects our audience – students beginning the study of architecture. is leads to three important considerations. · Where do the students come from? · Where do they need to go? · What skills and capacities do they need to construct a suitcase for the trip? Because students do not arrive uniformly equipped for the study of archi￾tecture, it is of paramount importance that their first course of study fur￾nishes a consistent preparation. ose familiar with the language of instruc￾tional design will recognize this as a request for probable outcomes. After all, if we must judge students on how well they accomplish tasks, we ought to define those tasks clearly. In the studio and this book, tasks – as practices – commingle with defined skills. e first skills discussed in our narrative address higher-order concept skills. With roots in the literature of visual psychology, they focus on the percep￾tion and implementation of order. Order leads to pattern and ideas of pattern. us, our first discussions confront recognizing patterns and pattern systems, identifying useful strategies and tactics, and diagramming patterns with par￾ticular intent. Mastery of design thinking takes more time than any single course can pro￾vide. However, the capacity for judging order in a constructed environment builds from simple cognitive steps using diagrams. In this book, those steps include: inferring structure from formal order, recognizing scale within struc￾ture and imagining space through visualizing order – all of which lead to an understanding of architecture. The role of examples One of the tools present throughout our first-year program is the deliberate and extensive use of images and models as exemplars for the project sequence. Models and drawings – digital and hand-made – form a particular background for the daily assignment and lectures. Together with photographs, they pro￾vide a consistent visual reference for study. After nearly seven years there are a lot of them – at last count over six thousand. is profusion led us to begin