Portfolio Jose R. Buitrago

1 | C V B u i t r a g o

CURRICULUM VITAE 1. ACADEMIC HISTORY NAME: José R. Buitrago PRESENT RANK: Assistant Professor PROPORTIONAL TIME APPOINTMENTS (EFT): Year Instruction SED Research, Creative Activities& Service Appointment 2002 – 03 100% 0% 9 Months 2003 – 04 100% 0% 9 Months 2004 – 05 100% 0% 9 Months 2005 – 06 0% 0% Leave of Absence 2006 – 07 65% 35% 9 Months 2007 – 08 65% 35% 9 Months 2008 - 09 65% 35% 9 Months TENURE STATUS: Tenure Track Position GRADUATE FACULTY STATUS: Provisional Graduate Faculty Appointment EDUCATION: Master of Landscape Architecture

Harvard University – Graduate School of Design Cambridge, MA, 1997. Bachelor of Science in Landscape Architecture The Pennsylvania State University State College, PA, 1995. Minor in Art (Sculpture), 1995

ACADEMIC POSITIONS: August 2002 to Present – Assistant Professor, The University of Georgia School of Environmental Design August 1996 to May 1997 – Tutor for Computer Graphics, Harvard University, Graduate School of Design.

OTHER PROFESSIONAL EMPLOYMENT:

2002 - Project Designer and Construction Supervisor for Lucido & Sole Design in Orlando, Florida. 2000 to 2001 - Project Manager for Architectural Land Design Inc., in Naples, Florida. 1997 to 2000 - Senior Design Staff for Edward D. Stone and Associates in Ft. Lauderdale, Florida.


2. RESIDENT INSTRUCTION AND CONTINUING EDUCATION Semester Course Enrollment Percent Time (EFT) Instruction Fall 2002 Land 4240 – Computer Graphics 19* 100% Fall 2002 Land 4360 – Landscape Ecology Principles 20* 100% Spring 2003 Land 2020 – Land. Arch. Design Studio II 22* 100% Spring 2003 Land 4250 – Portfolio Development 18* 100% Fall 2003 Land 2010 – Land. Arch. Design Studio I 20* 100% Fall 2003 EDES 4240 – Design Communication IV 23* 100% Spring 2004 Land 2220 – Design Communication II 21* 100% Spring 2004 Land 4250 – Portfolio Development 16 100% Spring 2004 Land 6220 – Representation & Communication II 13 100% Fall 2004 Land 4910 – Advanced Auto CAD Optional Studio 10 100% Fall 2004 Land 4240 - Computer Graphics & Portfolio 18* 100% Spring 2005 Land 2220 – Design Communication II 15 & 18* 100% Spring 2005 Land 4250 – Portfolio Development 15 100% Spring 2005 Land 6220 – Representation & Communication II 15 100% Fall 2005 None – Leave of Absence N/A N/A Spring 2006 None – Leave of Absence N/A N/A Fall 2006 Land 2210 – Design Communication I 17 65% Fall 2006 Land 2010 – Land. Arch. Design Studio I 14 65% Spring 2007 Land 2220 – Design Communication II 15 65% Spring 2007 Land 2020 – Land. Arch. Design Studio II 17 65% Fall 2007 Land 2210 – Design Communication I 23* 65% Fall 2007 Land 2010 – Land. Arch. Design Studio I 18* 65% Spring 2008 Land 2220 – Design Communication II 19* 65% Spring 2008 Land 2020 – Land. Arch. Design Studio II 16 65% Fall 2008 Land 2210 – Design Communication I 17 65% Fall 2008 Land 2010 – Land. Arch. Design Studio I 17 65% *Note: The American Society of Landscape Architects Self Evaluation Report for the School of

Environmental Design BLA, Program, Section 2.7, page 33, recommends that the Student Faculty Ratio appropriate and effective for instruction of individual students is 16 to 18 maximum.

3. SCHOLARLY AND CREATIVE ACTIVITIES A. Publications

A1. Books Authored Buitrago, Jose R., and Ashley Calabria.

Computer Graphics for Landscape Architects: An Introduction. Clifton Park, New York: Thomson Delmar Learning Press, 2008. ISBN: 1-4180-6525-0.

A2. Journal Articles Buitrago, Jose R. Old San Juan, Puerto Rico, US: A Case

Study of Heritage Tourism as a Mechanism to Promote Historic Preservation and Economical Development. Fall 2007. United Nations Educational, Scientific and Cultural Organization (UNESCO) Observatory E-Journal, Vol. 1, No. 1, pp 1. This peer reviewed research article was published by the UNESCO E-Journal and is edited by the University of Melbourne, Australia.


Buitrago, Jose R. The Iconography of San Juan, Puerto Rico, US National Historic Site. Fall 2007. The Pennsylvania State University Conference Proceedings of the Council of Educators in Landscape Architecture. This peer review research article was presented during the conference and it was published in the conference proceedings Fall of 2007.

A3. Technical Articles Buitrago, Jose R. “Adobe Photoshop CS2 & AutoCAD Rendering Techniques, Part I – The ACME Blue Print.” Landscape Architect & Specifier News. Jan. 2007: 24 and 26. This is a technical article published in a nationally re-known professional practice magazine. Buitrago, Jose R. “Adobe Photoshop CS2 & AutoCAD Rendering Techniques, Part I – The Standard Sepia Color Print.” Landscape Architect & Specifier News. Feb. 2007: 26 and 28. This is a technical article published in a nationally re-known professional practice magazine. Buitrago, Jose R. “Adobe Photoshop CS2 & AutoCAD Rendering Techniques, Part III – Water Color.” Landscape Architect & Specifier News. March 2007: 24 and 26. This is a technical article published in a nationally re-known professional practice magazine. Buitrago, Jose R. “Adobe Photoshop CS2 & AutoCAD Rendering Techniques, Part IV – Marker Rendering.” April. 2007. Landscape Architect & Specifier News. April 2007: 24 and 26. This is a technical article published in a nationally re-known professional practice magazine. Buitrago, Jose R. “Night View Rendering Techniques using Adobe Photoshop CS2 and AutoCAD.” Landscape Architect & Specifier News. June 2008. 24 and 26. This is a technical article published in a nationally re-known professional practice magazine. Buitrago, Jose R. “Photoshop Can Mimic Hand Rendered Sketches.” Landscape Architect & Specifier News, August 2008. 26 and 28. This is a technical article published in a nationally re-known professional practice magazine.

A4. Other Writing Buitrago, Jose R. Men’s Health Living Expert Advisors At Work This Issue. December 2007. Men’s Health Living, Vol 1, No. 1, pp 12.

A5. Abstracts Buitrago, Jose R. Cyberspace: A New Semiotic Model for Decoded Media Perception of the Visual Landscape. Fall 2005. Council of Educators in Landscape Architecture 2005: A Time for Place Conference Proceedings, University of Georgia, Athens, Georgia. This abstract was accepted for presentation and paper submitted for publication consideration but was not able to be included on the conference proceedings due to personal leave of absence. This prevented attending the conference thus inclusion of the abstract/research in the proceedings.


Buitrago, Jose R. The Iconography of San Juan, Puerto Rico, US National Park. Fall 2007. The Pennsylvania State University Conference Proceedings of the Council of Educators in Landscape Architecture. This peer review research was presented during the conference and it was published in the conference proceedings in the fall of 2007.

A6. Work Submitted but not yet accepted 2008 - Submitted abstract/article (Looking Back At Learning From Las Vegas) currently accepted for presentation and is under consideration for publication during the Council of Educators in Landscape Architecture (CELA) Conference; schedule for January 28, 2009, Tempe, Arizona, US. 2008 – Submitted book proposal on the topic of hand graphics for landscape architects. 2009 – Scheduled to commence work on the second revised edition of the co-authored published book; Computer Graphics for Landscape Architects. 2009 – Schedule to submit article to be considered for publication in the Journal of Landscape Architecture on the topic of Colonial Landscapes and the West Indies Master Planning.

B. Creative Contributions/Juried 2006 - Presented research work at The University of Georgia School of Environmental Design – Environmental Design Faculty Research Exhibit. University of Georgia, SED, Circle Gallery, January 12 – February 2, 2006. 2006 - Juror for the American Society of Landscape Architect’s Student Honor Awards. University of Georgia, School of Environmental Design. 2003 - Juror for the American Society of Landscape Architects Student Awards. 2003 - Juror for UGA – Institute of Ecology Annual Graduate Students Symposium.

C. Recognitions & Achievements 2007 – Inducted into the honor society of Phi Kappa Phi, UGA chapter, as a faculty who has made outstanding contributions to the field of landscape architecture. 2006 - Inducted into the national profile list book entitled, The Paths We Tread II, which is published and managed by the University of Michigan Minority Environmental Leadership Initiative. This book showcases the profiles and careers of distinguished minority environmental professionals. 1997 - E D S A Photo Contest, Honorable Mention.


1997 - Department of Landscape Architecture Class Marshal, Harvard University Graduate School of Design. 1995 - Deans List, The Pennsylvania State University. 1994 - Alpha Sigma Lambda, Eta Upsilon Chapter, National Honor Society for students in continuing higher education, Penn State University. 1994 - Sigma Lambda Alpha, Lambda Chapter, The Honor Society of Landscape Architecture, Penn State University. 1993 - National Ronald E. McNair Scholar, Penn State University. 1993 - Study Abroad Scholarship, Rome Summer Program, Italy. 1992 - National Hispanic Scholarship Fund Scholar. 1988 - Selected Outstanding Young Man of Puerto Rico, Puerto Rican Youth Commission, San Juan, Puerto Rico. 1985 - Citizenship Medal granted by the city major, Angel O'Berrios, Caguas, Puerto Rico.

D. Areas in which Research is Done Cultural landscapes, computer rendering application and technology, Caribbean cultural landscape legacy, Caribbean historic preservation and restoration, and heritage tourism as a mechanism for economical development.

E. Supervision of Student Research 2008 – Faculty advisor for Nick Carrea on his Senior Project for the course Land 4900. 2008 – Faculty advisor for Patrick Perry on his Senior Project for the course land 4900. 2008 – Faculty advisor for Geoff Campbell on his Senior Project for the course Land 4900. 2004 - Faculty advisor for Jacqueline Thompson on her Senior Project for the course Land 4900 entitled: The Thompson Residence, Abaco Island, Bahamas. 2003 - Faculty advisor for Greg Gotsh on his Senior Project for the course LAND 4900 entitled: Sustainable New Urbanism – Neo Traditional Town for Eustis Village, Beaufort, South Carolina.

F. Peer Reviewer 2006 - Reviewed and evaluated the second edition of the text book entitled, Landscape Construction, for Delmar Learning Center (Thompson Publishing Group). This text book is authored by David Sauter of Foothill College in Los Altos Hills, California. 2005 - Reviewed and evaluated abstracts and research papers submitted for publication consideration in the Council of Educators


in Landscape Architecture 2005: A Time for Place Conference Proceedings. University of Georgia, Athens, Georgia. 2004 - Reviewed and evaluated manuscript entitled, Landscape Design: Theory and Application, for Delmar Learning Center (Thomson Publishing Group). This manuscript is authored by Dr. AnnMarie VanDerZaden of Iowa State University and Prof. Steven N. Rodie of the University of Nebraska. 2003 - Reviewed preface of book Porous Pavements by Bruce Ferguson, for author.

G. Editorship - Board Member Men’s Health Living magazine Advisory Board Member. Responsible for advising on articles pertaining to Landscape Architecture. Men’s Health Living is a brand-new magazine first published on December 2007. This international magazine is designed to target the young and modern male audience on issues pertaining to landscape architecture, interior design, architecture, and the home. This magazine is published by Rodale Publishing Incorporated, of Emmaus, Pennsylvania. Graphic Editor for the Council of Educators of Landscape Architecture 2005: A Time for Place Conference Proceedings, August 22 - 24 of 2005, The University of Georgia, Athens, Georgia.

H. Convention Papers Buitrago, Jose R. The Iconography of San Juan, Puerto Rico, US National Park. Fall 2007. The Pennsylvania State University Conference Proceedings of the Council of Educators in Landscape Architecture. This peer review research was presented during the conference and was published in the conference proceedings. Buitrago, Jose R. Cyberspace: A New Semiotic Model for Decoded Media Perception of the Visual Landscape. Fall 2005. The University of Georgia Conference Proceedings of the Council of Educators in Landscape Architecture. This abstract was accepted for presentation and paper was submitted for publication consideration but was not able to be included due to medical leave of absence that prevented attending the conference.

I. Invited Lectures 2009 – Invited to present a paper entitled; Looking Back at Learning from Las Vegas, at CELA’s 2009 annual conference in Tucson, Arizona on January 14 of 2009. 2007 - Presented research work at The University of Georgia Latin American and Caribbean Studies Major Proseminar II. University of Georgia, LACSI, Baldwin Hall, September 6, 2007. 2007 - Invited as a Guest Speaker to lecture on the topic of the Cultural Landscapes of Puerto Rico. Lecture was given to the students attending the course LAND 6540 – Ideas of Communities.


2006 - Presented research work at The University of Georgia School of Environmental Design – Environmental Design Faculty Research Exhibit. University of Georgia, SED, Circle Gallery, January 12 – February 2, 2006. 2003 - Invited as a Guest Speaker to lecture on the topic of Tropical Flora in the Caribbean Basin at the University of Georgia School of Environmental Design Dominican Republic Landscape Architecture Colloquium. Hosted by the SED – Office of Public Service and Outreach. Lecture was given in English and Spanish. 2004 - Invited as a Guest Speaker to lecture on the topic of Caribbean’s Heritage Tourism and Historic Preservation. Lecture was given to the students attending the course LAND 6540 - Ideas of Communities.

J. Environmental Design Projects Performed or Practice 2002 - As Designer & Construction Supervisor for Lucido & Sole Design, I contributed to the following projects: • Vista Credit Union, Orlando, FL, US. Located in the heart of the

tourist Mecca of International Drive in Orlando, FL, this Credit Union Bank was designed for the employees of Disney Corporation. I assisted in the inspection and supervision of the installation and construction of the hardscape and planting plan.

• Ritz Carlton Pool and Spa, Jupiter, FL, US. This hotel and spa was built in the exclusive community of Jupiter and included a +500 square foot pool, deck, spa and grounds. I assisted in the design phase and production of visual aids such as sections-elevations, color rendering, several concept drawings, value engineering, cost estimates, CAD construction documents and supportive construction details.

• Vacation Village at Parkway, Orlando, FL, US. Located in close proximity to Walt Disney World Parks and Resorts, this Hotel offers a swimming pool, an environmentally sensitive marsh, and garden areas. I assisted in the inspection and supervision of the installation and construction of the hardscape and planting plan.

• Lando Resort CDP, Orlando, FL, US. Located in close proximity to Walt Disney World Parks and Resorts, this proposed new Hotel required the submittal of initial design study and Construction and Development Plans (CDP) to the Orange County’s Construction Permit Office for consideration and approval. I assisted in the creation of the initial CDP plans.

2000 to 2001 - As Project Manager for Architectural Land Design, I contributed in the following projects:


• Bajaj Residence Master Plan, Naples, FL, US. This residence was built in the exclusive community of Aqualine Shores and included a driveway entry-courtyard along with a 350 square foot pool and deck. I assisted on the production of visual aids such as sections/elevations, color rendering, several concept drawings, value engineering, cost estimates, CAD construction documents and supportive construction details.

• Vasari Community Planning Master Plan, FL, US. A planned golf course community themed around the life and works of the Italian renaissance painter, architect and art historian Giorgio Vasari. I helped on the production of visual aids that showcase the elements and tones of this themed community.

• Eldon Johnston Residence, Bonita Springs, FL, US. This residence was built in the exclusive community of Port Royal and included a 500 square foot pool, deck, Spa and a vanishing edge over looking the main waterway canal and private dock. I assisted on the production of visual aids such as sections-elevations, color renderings, several concept drawings, value engineering, cost estimates, CAD construction documents and supportive construction details.

• Naples Boat Club, Naples, FL, US. This exclusive member only marina is located in the old town of Naples and has direct access to Naples Bay. I worked on the production of visual aids such as sections-elevations, design alternatives for entry signage, CAD construction documents and supportive construction details.

1997 to 2000 - As Senior Design Staff for Edward D. Stone and Associates, I contributed to the following projects: • Sandy Lane Hotel and Resort, Barbados, West Indies. The

revitalization of an existing hotel/resort that will contain a new 18-hole golf course, tennis courts, a new pool and a spa. I worked on the production of visual aids such as sections-elevations, color rendering, value engineering, cost estimates, CAD construction documents and supportive construction details.

• Pentamar Master Community Plan, Buenos Aires, Argentina. A 500-hectare upscale golf community located north of Buenos Aires, Argentina in the El Tigre vicinity. The site is to include high security with two control points, parks, and a golf club with a pool, tennis, paddle tennis exercise facility and bocce. Canals and lakes will be created by dredging and most lots will have either water views or easily accessible amenities. I helped in the design of the Master Plan and supportive visual aids such as color renderings, sections, plan views, and construction details.

• Hurricane Restoration - San Juan Hotel & Casino, San Juan, PR, US. In the aftermath of Hurricane George in October, 1998,


I have been providing hurricane assessment, redesign, and on-site observation for El San Juan Hotel & Casino. My responsibilities included working with the hotel owners, managers, and insurance adjusters in assessing damage to exterior elements such as landscape lighting, irrigation, contaminated soil, and desalinization. Other duties included on site redesign changes, coordination and supervision of the restoration efforts while keeping the hotel facilities operational during the high Christmas Tourist Season. The restoration efforts required staying at the facility and working in a non-traditional 8 hour schedule in order to accommodate the needs of the management of the hotel to keep the facility running.

• Hurricane Restoration - Palmas del Mar Resort, Humacao, PR, US. In the aftermath of Hurricane George in October, 1998, I have been providing hurricane assessment, redesign, and on-site observation for Palmas del Mar and Palmas Properties. My responsibilities included working with the hotel owners, managers, and insurance adjusters in assessing damage to exterior elements such as landscape lighting, irrigation, contaminated soil, and desalinization. Other duties included on site redesign changes, coordination and supervision of the restoration efforts while keeping the hotel facilities operational during the high Christmas Tourist Season. The restoration efforts required staying at the facility and working in a non-traditional 8 hour schedule in order to accommodate the needs of the management of the hotel to keep the facility running.

• El Conquistador Resort and Casino, Fajardo, PR, US. In the aftermath of Hurricane George in October, 1998, I have been providing hurricane assessment, redesign, and on-site observation for El Conquistador Resort and Casino. My responsibilities included working with the hotel owners, managers, and insurance adjusters in assessing damage to exterior elements such as landscape lighting, irrigation, contaminated soil, and desalinization. Other duties included on site redesign changes, coordination and supervision of the restoration efforts while keeping the hotel facilities operational during the high Christmas Tourist Season. The restoration efforts required staying at the facility and working in a non-traditional 8 hour schedule in order to accommodate the needs of the management of the hotel to keep the facility running.

• Ritz Carlton Hotel and Casino, Carolina, PR, US. In the aftermath of Hurricane George in October, 1998, I have been providing hurricane assessment, redesign, and on-site observation for the Ritz Carlton Hotel and Casino. My responsibilities included working with the hotel owners, managers, and insurance adjusters in assessing damage to exterior elements such as landscape lighting, irrigation, contaminated soil, and desalinization. Other duties included on -


site redesign changes, coordination and supervision of the restoration efforts while keeping the hotel facilities operational during the high Christmas Tourist Season. The restoration efforts required staying at the facilities and working in a non-traditional 8 hour schedule in order to accommodate the needs of the management of the hotel to keep the facility running.

• Alpargatas Master Community Plan, Buenos Aires, Argentina. A 158 hectare site, one-half hour from the capital city, which has been programmed to provide nearly 5000 entry to moderate level residential accommodations. Additionally, a 90,000 square meter conversion of an existing textile factory into a shopping center and retail establishment will be provided. I assisted in the design process and production of supportive visual aids for the preliminary permitting by the correspondent Argentinean authorities.

• Los Paisajes Master Community Plan, Luquillo, PR, US. An upper-class residential community located west of Luquillo, Puerto Rico. The site boasts views of the Atlantic Ocean, the Mountain Range of Sierra de Luquillo, and the Sabana River. The community also has an equestrian center with a small polo-equestrian arena. I worked on the early stages of production of visual aid drawings and plan layout of the equestrian center, several alternative arrangements for the residential areas, color rendering and value engineering calculations.

• Baan Campus Master Plan, Reston, Virginia, US. Headquarters of an international computer company located in Reston, Virginia. I assisted in the early stages of the conceptual master plan design.

• Miami Polo Club Master Plan, Miami, Florida, US. An upper class residential community located west of the Miami Airport. The community will include an international polo field, an equestrian center, guest hotel, pools and tennis center. All residential areas also border natural-looking lakes. I worked on the production of drawings, color renderings, section-elevations drawings, CAD construction details, and CAD master plan.

K. Professional Development & Activities

2008 – Attended the Geographic Information Systems (GIS) for Georgia Community Development course offered by the New Urban Research Institute, at the LISC Institute, Atlanta, Georgia. 2008 – Attended the 3rd Annual Latin American and Caribbean Studies Institute Retreat, University of Georgia, LACSI, Athens, Georgia.


2006 - Attended the Office of Research 1st Research Lecture on Qualitative Focus Group Analysis, Kennesaw State University, Well-Star College of Health and Human Services, Kennesaw, Georgia. 2006 - Attended The University of Georgia Academy of the Environment Conference, University of Georgia’s Conference Center, Athens, Georgia. 2006 - Attended the UGA Training and Development course entitled; Research Resources for New Faculty. 2005 - Attended the Graceland College Center for Professional Development and Lifelong Learning Compu-Master Conference and Training for Adobe Photoshop Users, Atlanta, Georgia. 2005 - Attended the International Association of Amusement Parks and Attractions Expo and Conference, Atlanta, Georgia. 2003 - Attended the following courses offered by UGA - Training and Development Office: • Writing Proposals • Grant Procedures • WEB Page Design (Dream Weaver Software).

4. PUBLIC SERVICE 2008 – Member of the University of Georgia Diversity Advisory Council for the College of Environment and Design. 2008 - Volunteer as a faculty Mentor for the Mentoring Program of the University of Georgia Office of Institutional Diversity. 2007 – Volunteer at the Athens Regional Medical Center Loran Smith Center for Cancer Support and Survivor Group. 2006 - Volunteered to give a lecture on the professional practice of landscape architecture to the 3rd grade students of The Fourth Street Elementary School in Athens, during their Hispanic Community Leaders Day. 2006 - Volunteered to instruct the Landscape Architecture - Environmental Science course for the Boy Scouts of North America, Merit Badge Requirement of North East Georgia. 2002 to Present - Active member of the Northeast Georgia Section of the American Society of Landscape Architecture.

5. OTHER SERVICES 2007 - Professional expert counsel and Landscape

Architecture advising services for a court case pertaining to ownership rights of a tree. Magistrate court of the town of Calhoun, Georgia, September 6, 2007. 2006 - Chairperson of the Representation, Communication, and Professional Practice Teaching Circle of the School of Environmental Design.


2006 - Member of the Bachelor of Landscape Architecture Faculty Council of the School of Environmental Design. 2006 - Member of the “Art School Move” Committee. 2006 - Participated in The University of Georgia Academy of the Environment Conference, October 23-24, 2006, UGA-Georgia Conference Center, Athens, Georgia. 2003-2004: Coordinator of the SED Guest Speaker Program, created and implemented the In House Lecture Series as a forum for current or former faculty, graduate students, and alumnae of the School to present and share with their colleagues their latest research or topic of interest. Guest speakers included: • Professor Ann English whose lecture was entitled Biltmore

Estate-The Approach Road. • Professor Fausto Sarmiento on the topic of TropAndean

Landscapes. • Professor Kwesi DeGraft-Hanson on Teaching Environmental

Design in Ghana. • James Patchett and Tom Price on Designing for Sustainable

Systems. • David Dobereiner, former SED Professor, on the topic of

Sustainable Cities in the Future. • Professor Allan Armitage whose lecture was entitled It is a

Crazy Plant World: New Annuals and Perennials. • Professor Georgia Harrison on the topic of Design with Nature:

The South’s Evangel Robert E. Marvin. 2003 - Attended University of Georgia, School of Environmental Design - Sustainable Design + Education Conference. 2003 - Attended Institute of Ecology Annual Graduate Students Symposium. 2003 - Attended Georgia Center for Continuing Education Symposium on Cultural Diversity at the University of Georgia in the 21st Century, Office of the Vice President for Instruction. 2003 - Member of the Organizing Committee for the Dominican Republic Landscape Architecture Colloquium. Hosted by the Office of Public Service and Outreach. Invited to lecture on Tropical Flora in the Caribbean Basin. This lecture was given in English and Spanish. 2003 - Member of the School of Environmental Design Student’s Grade Appeal Committee. 2003 - Member of the Computer and Construction Faculty Search Committee of the School of Environmental Design.


2002 to 2005 - Member of the Organizing Committee for 2005 CELA Conference, hosted by the School of Environmental Design. 2002 to Present - Member of the Bachelor of Landscape Architecture Faculty Council of the School of Environmental Design. 2002 to Present - Member of the Representation, Communication, and Professional Practice Teaching Circle of the School of Environmental Design.

OLD SAN JUAN, PUERTO RICO, US:

A CASE STUDY OF HERITAGE TOURISM AS A MECHANISM TO PROMOTE HISTORIC

PRESERVATION & ECONOMICAL DEVELOPMENT

PROFESSOR JOSÉ R BUITRAGO ; ASSISTANT PROFESSOR, COLLEGE OF ENVIRONMENT AND DESIGN

SCHOOL OF ENVIRONMENTAL DESIGN

ATHENS

[email protected]

KEYWORDS

Identity and Culture, Ethics, politics and Philosophy, Globalisation, Tran-disciplinary Knowledge,

Socio-economics, Land History, Architecture and Landscape Architecture.

ABSTRACT

Heritage tourism became a successful strategy to promote The USA Commonwealth of Puerto

Rico as a unique tropical destination in the Caribbean. Driven by the desire to capitalize in the

heritage tourism market, both private and public sectors joined efforts to initiate the restoration of

the 16th century district of Old San Juan. This effort, in return, launched the island as an

international tropical tourist destination with a unique historic character among the Caribbean

Islands. Further capital investment was set to promote the development of the infrastructure

required to support tourism. As a direct result of this capital investment, the development of the

San Juan-Luis Muñoz Marin International Airport allowed San Juan to become the transit hub of

the Caribbean Region. The Hub designation guarantees San Juan a constant flow of travelers.

The seaport of San Juan also took on an active role in this tourism campaign when it was

declared the busiest and most important homeport of cruise-line ships in the world. The Island

also gained international repute through its unique tropical flora and fauna, developing an

industry ahead of its time – eco-tourism. The incorporation of the tropical rain forest of El Yunque

under the U.S. National Park Service as Puerto Rico Caribbean National Tropical Rain Forest

(the only one under the jurisdiction of the National Park Service), was internationally acclaimed

by the scientific community as an important step in the conservation of the World Wide Biosphere

Program. Nonetheless, the development of the tourism industry has greatly influenced the

economy and infrastructure of the Greater San Juan Metropolitan Area.

UNESCO OBSERVATORY, FACULTY OF ARCHITECTURE, BUILDING AND PLANNING, THE UNIVERSITY OF MELBOURNE REFEREED E-JOURNAL.

This paper will examine the influence and impact of the flourishing tourism industry on the urban

fabric of the city through the review of literature, data and case study methodology. Specifically,

this research article will look at the role of heritage tourism as a mechanism to promote historical

preservation and economical development; the effects of the ‘historical urban fabric’ of the city on

the ‘modern and contemporaneous’ renewing program of the city, the relationship of preserving

and restoring its city’s fabric with the tourism industry, and the vision for San Juan in the next

century.

UNESCO OBSERVATORY, FACULTY OF ARCHITECTURE, BUILDING AND PLANNING, THE UNIVERSITY OF MELBOURNE REFEREED E-JOURNAL.

INTRODUCTION

The city of San Juan, the capital of the United States Commonwealth of Puerto Rico, shares with

most of the large metropolis of the United States a never-ending pattern of expansion, sub-

urbanization, and commercialism:

“Straight off the red-eye, driving out of San Juan on a hazy Wednesday morning, the

only question on our bleary minds is whether this part of Puerto Rico looks like

Southern California, or whether Southern California looks like this part of Puerto

Rico” (Tisdale, Karbo: 47-59).

San Juan presents the same pattern of urban development seen throughout the continental US.

This pattern is distinctively recognized by an intrinsic network of freeways and highways,

connecting suburbs, industrial zones, financial districts, and commercial zones. Nevertheless, the

history of San Juan has a distinctive signature in its development.

The greater San Juan Metro area, among all the state capitals, is the oldest European settlement

within the Continental US and its territories. Founded in 1509 by the Spaniard Don Juan Ponce

de Leon, it was the second European settlement in the Americas and the first port of any vessel

crossing the Atlantic. Its valuable geographical location as the eastern foremost island of the

Caribbean’s Greater Antilles, and extraordinary tropical weather conditions, forced the Spanish

Crown to heavily protect the city from continuous attacks, through the construction of fortresses

and walls. These attacks were driven by the desire of many European countries to gain

possession of the Island from Spain. For 400 years (1493 – 1898) the Island was a Spanish

colony, until the United States invaded during the Hispano-American War of 1898. During the

next hundred years until today, the city underwent a dramatic transformation of urban expansion

and growth.

Under the American Flag, the 20th century Puerto Rican Society witnessed and experienced a

dramatic economical transformation. This transformation not only aided the Island to match the

living standards of the US Mainland residents, but also encouraged exponentially the

diversification of its economy. Tourism was one of the many new industries that came as a result

of the stratification of the Island’s economical model. While many of the tourism marketing

strategies of the neighbouring Caribbean Islands concentrated their efforts on promoting their

unique tropical climate characteristics, the Puerto Rican Tourism Company took a different

approach. What makes the Island of Puerto Rico stand out from the other tropical Caribbean

tourist destinations? The answer to that question was marketing heritage tourism, which became

a successful strategy to promote Puerto Rico as a unique tropical destination in the Caribbean.

UNESCO OBSERVATORY, FACULTY OF ARCHITECTURE, BUILDING AND PLANNING, THE UNIVERSITY OF MELBOURNE REFEREED E-JOURNAL. 1

Driven by the desire to capitalize on the heritage tourism market, both private and public sectors

joined efforts to initiate the restoration of the historic 16th century district of Old San Juan. This

effort, in return, launched the Island as an international tropical tourist destination with a unique

historic character among the Caribbean Islands.

MODERN SAN JUAN

The municipality of San Juan consists of the districts of Old San Juan, Santurce, Condado, Hato

Rey, Rio Piedras, Pueblo Viejo, and Puerto Nuevo. These districts can be described as the

historic city core, the suburb, the tourist-hotel strip, the financial centre (Downtown), university

centre, industrial zone, and the new seaport respectively. These seven sectors together have a

million inhabitants, but including the fact that the greater metropolitan area is composed of six

adjoining Municipios (the equivalent of counties) including San Juan, Carolina, Trujillo Alto,

Guaynabo, Cataño and Bayamon, the total number is expected to be over two million inhabitants

by the year 2010. This high concentration of people, the largest in the Caribbean basin, is driven

by the stable business and industrial economy of this urban centre. Part of the success of the

economy is due to the infrastructure built within the zones.

Modern social theorists concluded that time equals money, a definition which has incredible

repercussions in the way that we perceive and design urban space (Harvey, 1995). Today’s

metropolis is designed around the concept of money production, at the expense of its inhabitants.

The faster the goods are produced and delivered, the faster the profits are collected. This

capitalist concept has created in the urban fabric a network of communication devices to facilitate

the transportation of goods from their places of production to the markets of consumption. Harvey

predicted that time would become the tool to measure production. The capacity of the urban

fabric to accelerate the surplus production becomes the focal point. New highways and freeways

were built in San Juan to safeguard the local industries’ ability to transport their goods on time.

These devices have not only changed the urban pattern of the city, but sometimes erase it, to the

extent that it has created a new form disassociated from the original. The city of San Juan is not

an exception to the way that urban spaces have been built to promote and accelerate the

production of money. Harvey’s social theories also indicated that the style of urban life reflects

the social changes created by money. This concept literally translates in the way that the modern

infrastructure of San Juan has been built to accommodate those changes. These changes can be

recognized in the development of new modern transportation facilities in San Juan during the late

1940 early 1950.


San Juan has the largest international airport in the region. The Luis Muñoz Marin International

Airport has become the transit hub of the entire Caribbean basin. The port of San Juan is not only

the largest in the region but also the busiest cruise ship port of call in the World!

“We are counting with 23 cruise ships based in San Juan, which gave us the title of

the World Capital of Cruise Ships” (Ortego-Borges, 1996: 16).

Accessible transportation, in addition to

the intrinsic pattern of freeways and

highways across the city and the entire

Island, make it an attraction to

investors. This, along with the

flourishing tourist industry has turned

San Juan into both a travel and

business destination in the Caribbean,

which has considerably helped the

local economy.

FIG. 1. CRUISE SHIP PIER, SAN JUAN.PHOTOGRAPH BY AUTHOR, AUGUST 2000

.

THE IMPACT OF THE TOURIST INDUSTRY IN SAN JUAN

The pre-colonial economic model of Puerto Rico before the American Invasion was based on a

mono-cultivar-agrarian society, in which sugar and coffee were the major exports. When Spain

ceded the Island to the United States in the Treaty of Paris in 1898, a major transformation

occurred. Under the American Flag and citizenship, the Island underwent a series of changes to

promote an industrial society. Investors were attracted through tax exemptions, skillful and cheap

labour, easy access to the mainland (U.S.A.), and a bursting infrastructure to support the new

economical model. The new prosperity of the Island changed it from an agrarian society to a

highly self-efficient industrial economy. Sugar cane fields were no longer attractive to investors,

unless they could be considered as potential sites for developers building new housing projects

or industrial buildings. While the industrial sector grew, agriculture declined. This shifting of

economy at the expense of the agricultural sector, made possible the expansion and growth of

the city of San Juan. New industries were created to compensate for the losses of agriculture,

and the tourist sector was one of them.

Tourism is a form of consumption. It is an industry developed around the concept of

entertainment, relaxation and joy (the product) in exchange of money (the profit). This industry

requires different infrastructures to satisfy its needs:


“The tourism industry, broadly defined as including passenger transport, visitor

accommodation, and restaurants, recreational and cultural components, constituted

the world’s leading industry in terms of total sales by” (Gayle, Goodrich, 1987: xxi).

FIG. 2. VIEW OF CONDADO, SAN JUAN. PHOTOGRAPH BY THE AUTHOR. AUGUST 2000.

A direct result of the tourist industry in San Juan was the development of the hotel and casino

strip in the 1950s known as El Condado and its extension towards Isla Verde, in the county of

Carolina.

This strip faces the Atlantic shoreline at the north, separated from the suburbs of Santurce along

the south side by a four-lane expressway that leads to the airport. The hotel and casino strip

literally stretch from the airport to the perimeters of Old San Juan, forming a continuous linear

skyline along the Atlantic shore. Its prestigious location makes it one of the most valuable hotel

zones in the Caribbean basin since it offers easy accessibility to all the best entertainment

activities, ranging from the white sandy beaches, historic district, casinos, dance club, art

galleries, shopping, and restaurants. World-wide hotel chains such as the Hilton, Hyatt, Sands,

Radisson, Marriott, Wyndham, Westin, Ritz-Carlton, Holiday Inn, Best Western, Travelodge, and

Days Inn among others were attracted to and became established in the Condado-Isla Verde

strip.

These hotel enterprises contributed to the development and growth of the economy of the city.

The taxable money generated from the Casino was a direct contribution yielded from this

industry. The taxable yields went to the educational fund for the public education system that

included the University of Puerto Rico. This contribution to the development of a better

educational system promoted a highly professional working labor force. As a result, new

industries were created by a diverse working class – pharmaceuticals, high-technological

equipment, engineering, computers, education, chemicals, petrochemicals, manufactured goods,

services, beaux arts, entertainment, architecture, and banking, among others, substituted the


historical agrarian working class. These new industries required a different infrastructure to

accommodate their growth and expansion; such is the case for the banking industry.

The Financial District of Hato Rey is known as La Milla de Oro (The Golden Mile), and is located

at the south of the suburb of Santurce. It started in the late 1950s with the movement of the local

banking headquarters from Old San Juan to the new modern high- rise towers built in the area.

Along and between the Ponce de Leon and Luis

Muñoz Marin Avenues, La Milla de Oro stretched

from the perimeter of Santurce inland for a mile

and is still growing. Banking offices such as

Chase Manhattan, Banco Bisboa Bizcaya,

Santander, Bank of Boston, Citibank, First

Federal Saving Bank, Banco Popular, Banco

Gubernamental de Fomento, Oriental Bank &

Trust, BanPonce, First Bank, Ponce Bank, and

Western Bank, among others, were established

on Hato Rey.

FIG. 3. VIEW OF HATO REY, SAN JUAN.PHOTOGRAPH BY AUTHOR. AUGUST 2000.

The banking industry helped to finance not only the tourist industry but also new local and

internationals enterprises:

“The tourism industry is the private sector of the economy that received the most

incentives from the Banco Gubernamental de Fomento as part of the bank’s mission

to promote the economy of the country” (Rodriguez, 1996: 5).

The banking industry has supported other enterprises related to the tourism industry. The San

Juan International Airport for the last 25 years underwent a dramatic transformation that has

contributed to expanded services and flight capacity. This expansion helped it to become the

transit hub of the Caribbean, facilitating the air access of the city from any cardinal point in the

hemisphere. In this way, the continuous access of tourists to the area is preserved, also providing

a modern transportation facility required in industrial societies. The airport is easily accessible

since it is connected with a network of freeways, highways, and expressways that connect to the

principal sectors of the capital and the rest of the Island. This modern infrastructure helps to

stabilize an economy that depends on the facility of the local industries to deliver their products to

the market of consumption.


The two distinctive zones of San Juan, the financial district of Hato Rey and the hotel strip of El

Condado, seem to be living on two different clocks. Hato Rey accelerates the rhythm of

production, based on Harvey’s concept of time equals money, and seems to be in total

contradiction with El Condado’s leisure-and-pause rhythm. These two districts are connected by

freeways and highways located in proximity to the Airport. This proximity has created the

potential interaction of city dwellers and tourist. This has also increased the chances of conflict

between two zones working at different speeds. The foremost image of a tourist arriving in a

tropical paradise is spending two hours in a taxi due to a downtown rush-hour traffic jam on his

way to his hotel. The solution to this conflict was the creation of a bridge that crosses the San

Jose lagoon, connecting Hato Rey directly to the airport. This avoids the necessity of crossing

through Santurce-Condado in order to access Hato Rey. This transportation device has been

implemented to improve the Condado hotel strip and Hato Rey access to the airport which has

decreased the time-access conflict between the tourist zone and the financial district.

HERITAGE TOURISM

One of the principal products that the city of San Juan is aggressively marketing is its cultural

heritage. The inclusion of Old San Juan, the second European settlement in the Americas, as a

United Nations World Heritage Site secured its promotion and facilitated marketing. Who can

remember the TV Show called The Love Boat, with the view of the Sun Princess cruise ship

crossing in front of one of the sentry boxes of the walls of Old San Juan?

FIG. 4. EL MORRO FORTRESS SENTRY BOX.PHOTOGRAPH BY AUTHOR., AUGUST 2000.

“Heritage tourism is now big business. In

economic and entrepreneurial terms it is one of

the major success stories of recent years. At a

time of declining industrial activity and rising

unemployment in Western society, heritage

tourism has provided an alternative form of

enterprise, creating jobs and generating wealth

for local economies” (Herbert, 1995: xi).

The iconography of the colonial architecture of

Old San Juan has been so extensively used that

we can literally open any travel magazine and a

promotional ad featuring a sentry box might

easily be found. Heritage tourism has proven to

be a useful tool to attract investors to the city as

the following quote shows:


The impact of the heritage tourism in Old San Juan can be seen in its master plan for restoration

and conservation of the national monuments such as the Fortress of El Morro, the city walls, and

the colonial houses. This plan, implemented 25 years ago, was successfully completed before

the 500 year celebration of the discovery of America and Puerto Rico by Christopher Columbus

in 1492.

The new development plans for the old district calls for the improvement of the infrastructure to

accommodate the modern needs of the metropolis without scarifying the historical character of

the city:

“Much emphasis is placed on the sites and monuments dimension of culture. This is,

in a way, inevitable. It is, after all, the easy route out. Felix Vazquez of Puerto Rico

reminded us that Old San Juan, as we have named the historical zone of our city, is

not just the remnant of the Spanish Colonial era with its architecture, fortifications

and monuments. It is a living museum. People live there. Merchants trade and work

there. Businessmen and bankers hold court there, and governmental affairs are

conducted there among and within the centuries-old buildings and walls” (Gayle,

Goodrich, 1993: 144).

New redevelopment plans call for the recognition and

preservation of the heritage architecture of the old core of the

city. The new waterfront project along the cruise ships piers and

dock call for the recycling of abandoned storage buildings.

Many of them have found utilitarian purposes such as new

office spaces, shopping centers, apartment complexes, hotels,

and light industry. One of the best examples of the

redevelopment of abandoned buildings is the Carmelita’s Nuns

Convent; now turned into a luxurious hotel.

This plan calls for the creation of lively spaces along with the

visual improvement of the waterfront. This would preserve the

existing urban fabric while providing needed facilities in the

historic core.

FIG. 5. EL CONVENTO HOTEL,SAN JUAN.

PHOTO BY AUTHOR. AUGUST

The repercussions of the tourism industry in the infrastructure of the city can be summarized as

key elements to the rescue of Old San Juan. This district was literally abandoned during the 1920

suburban boom of Santurce, Condado and Hato Rey:


“With the beginning of the construction of new and modern ways of transportation

and the introduction of the car that facilitated the development of Puerta de Tierra,

Miramar, el Condado and the rest of Santurce, many families and important

commercial firms started the exodus from the old city core. That was the beginning

of the decay process of the Old San Juan district.” (Mendez-Guerrero, 1989: 22).

Any attempt for a restoration plan for the

old city core was at the time impossible,

since the banking industry rejected any

loans designated for such purposes.

The bankers literally felt that it was a

waste of time and money to invest in the

restoration of an old brick structure with

no modern utilitarian purpose. It was the

recognition of the old district as a tourist

attraction that would promote investors

to pursue the banking industry to grant

loans for restoration:

FIG. 6. VIEW OF OLD SAN JUAN, SAN JUAN.PHOTOGRAPH BY AUTHOR. AUGUST 2000.

“The year 1955 marks a date of great importance for the national Puerto Rican

culture. That year, the governor of Puerto Rico created the Institute of Puerto Rican

Culture. The government of our country compromised for the first time, making use

of this new instrument, to preserve and encourage in all its forms the Puerto Rican

culture. One of the first priorities of this new program was to launch in a novel and

dynamic program the conservation and restoration of the national monuments and

historic zones in the country, especially the ones in San Juan. Programs of this

nature were not popular at the time, and few cities promoted. In San Juan there was

a vast majority of people convinced that if we preserved the old buildings we were

indeed stopping the progress, and destroying the evolution of architecture. The

commercial banks were rejecting any loan designated to restore an old brick

structure of more than 200 years. The owners were encouraged by the banking

industry to sell the structures at a lower taxable rate.” (Mendez-Guerrero, 1989: 22).


Time proved that the restoration program

was an asset in the promotion and

marketing of cultural tourism. At the

same time a monument for the

preservation of the Puerto Rican culture

was protected, promoting the rescue of

the old city core, and turning it into one of

the most successful pieces of real estate

on the Island

.

FIG. 7. VIEW OF OLD SAN JUAN’S WALL, SAN JUAN.PHOTOGRAPH BY AUTHOR. AUGUST 2000.

THE SUBURBANIZATION AND METROPOLISATION OF SAN JUAN

The transformation of the pre-colonial agrarian society of Puerto Rico into the post-industrial

conditions of the greater San Juan metropolitan area leads to a series of patterns of expansion

and growth. The establishment of the industrial economy helped by the investment in tourism

produced a pattern of migration from the rural zones of the Island towards the urban center. This

exodus of people was created by the decline of the agricultural industry which forced the

residents of those areas to find a new way of living. This created a shortage of housing and jobs

in the metropolitan areas. Planning agencies and developers were assigned the task of providing

affordable housing for the continuous demand created by a migration pattern that persists today:

“Several forces were responsible for the exodus from the countryside. Certainly the

burgeoning of urban factory and construction jobs was primary, but the possibility of

government and professional employment also provided a long-standing attraction

(Boswell, 1978). The expanding urban markets for services also created the

opportunity for many migrant women to become secondary family-income earners

(Safa, 1974). Sharp wage differentials of over 2:1 produced a strong pull. Urban

access to higher-quality secondary education, universities, and more specialized

medical facilities proved an additional motivation (Wells, 1969: 177-8; Carnoy,

1970). Perhaps, however, the most fundamental source of in-migration to urban

areas was the impoverishment of the rural periphery.” (Potter, 1989: 290).

The demand for housing led to the construction of large housing projects called urbanizaciones

and also high-rise condominiums.


The “urbanizaciones” were

arranged in the traditional cul-de-

sac or grid pattern, and they were

mainly composed of single-family

units. The construction material

preferred was concrete, since the

potential of the Island to be struck

by seasonal hurricanes is

extremely high. The potential of a

massive earthquake every 75

years is also another reason for the

preference of concrete as the

primary construction material.

FIG. 8. ISLA VERDE RESIDENTIAL & HOTEL STRIP, CAROLINA.PHOTOGRAPH BY AUTHOR. MAY 2000

These two regulations created a distinctive signature on the architecture of the city. Instead of

glassy high-rise structures, reinforced concrete was promoted.

The high demand for housing in the metropolitan area resulted in the urbanisation boom of the

1960s. This urbanisation pattern was encouraged by the demand and the social status created

by the acquisition of such housing units. Puerto Rican Spanish heritage seeks individual dignity

and respect among its community. This is resolved by acquiring higher social status through a

better socio-economical status. The socio-economical status is demonstrated by the acquisition

of a house. This cultural attitude can be traced to the colonial era in which royalty showed its

social status by embellishing properties such as mansions and fortresses. This is the origin of the

folklore attitude that said a man is a king in his house:

“Vernacular “Urbanizacion” houses also signify modernity. But dignity and the

respectability acquired through ownership are more fundamental meanings. Thus

such houses are ostentatiously distinguished from each other with diverse exterior

embellishment. Vernacular Urbanizacion houses’ message of status and identity are

directed to the local neighborhood. The degree of investment reveals them to be

prime conveyors of status messages” (Jopling, 1998: 258).

The affordability of these housing projects to the middle working class encourages the actual

pattern of sub-urban explosion in the greater metropolitan area. This along with the cultural

attitude of housing as a tool to acquire dignity and respect among its community proved to be a

successful element to sell and justify the construction of more Urbanizaciones.


The pattern of urbanization in San Juan can be easily comprehended through the eyes of social

theorists such as M. Weber. The demand for housing in the area was not only created by the in-

land migration from the rural areas toward the metropolis, but an inner desire of people to look for

better social status. The cultural attitude towards the social status acquired through housing

ownership in the Puerto Rican culture summarises Weber’s ideas of class position in a structural

society. This is the case of the middle class in the Puerto Rican society, whose demands for

better housing and social status (position) encouraged the urbanisation boom in the late 1950s.

The pattern of urbanization spread out through the entire city limits towards the surrounding

counties. These new communities are connected through a network of highways and freeways.

Cars became the principal medium of transportation for every household, which created a chaotic

density of vehicles running on the roads at rush hour. The current solution of expanding the lanes

of the roads is not solving the traffic jams at rush hour. Current investments in massive

transportation are yet to be implemented. The Aqua-Espreso (water expressway) made use of

the existing channels that interconnect the lagoons, marinas, rivers and the bay of San Juan to

run shuttle boats from the suburbs to the financial district. This has partially alleviated road

conditions, but not the problem.

The continuous growth of Hato Rey is

exponentially increasing the car

density on the main routes to

downtown every morning and

evening. A current master plan to

build a light train or subway system is

in the first phase of construction.

Historically, San Juan and the rest of

the island used to be connected with

a network of train routes. This network

was substituted by the present

highway and freeway system. Today,

planners are considering potential

connections of the proposed subway

with the most critical areas – the airport, financial district (Hato Rey), and Santurce. Later, the

plan is to extend the train to the cities of Ponce and Caguas, the second and third largest

metropolitan urban areas on the Island. This would alleviate the current chaotic driving conditions

at rush hour created by the extensive sub-urbanisation of the metropolitan area.

FIG. 9. HATO REY. PHOTO BY AUTHOR. JANUARY 2006.


THE VISION OF SAN JUAN IN THE NEXT CENTURY

Trends indicate that the existing

pattern of in-land migration towards

large urban centers will prevail until

the next century. This would increase

the need for affordable housing and

better mass-transportation systems.

The subway system currently under

construction seems to be an

imperative solution to accommodate

the exponentially increasing demand

for transportation for both residents

and tourist alike. FIG. 10. TREN URBANO (SUBWAY), SAN JUAN.

PHOTO BY AUTHOR. JANUARY 2006.

The current single-family housing trend will not be affordable. The increase of land value due to

demand could promote high-density housing projects such as apartment buildings, high-rise

condominiums and townhouses. New job markets would be needed to attend to the demands of

population growth. The ability of the tourism industry to attract foreign and mainland (U.S.A.)

investors has been noteworthy. The aggressive tourist campaign of the Puerto Rican Tourist

Company seems to be attracting more capital and investment in the market. New industries and

the redevelopment of the agricultural sector are recommended to decrease the migration towards

urban centers by providing job alternatives inside the Island. The Luis Muñoz Marin International

Airport designation as the transit hub of the Caribbean basin has provoked contradictory opinions

regarding the benefits of this expansion to the local tourism industry. One side speculates that

tourists arrive at the airport only to be connected with another flight with a final destination other

than San Juan. This means they don’t stop to do ‘business on the Island’ and the only beneficiary

is the airline. The other side argues that the hub designation will promote better flight schedules,

increase daily flights and connections to the Island, and nevertheless lower flight rates that in the

end will benefit local tourism. This would increase the international exposure of the Puerto Rican

tourism industry since, if even the passenger arrives in San Juan only to be connected to another

destination, the take off view of the Old San Juan district is breathless.


FIG. 11. VIEW OF EL MORRO FORTRESS, SAN JUAN.PHOTOGRAPH BY AUTHOR. MAY 2000.

FIG. 12. VIEW OF FORTALEZA, OLD SAN JUAN.PHOTO BY AUTHOR. MAY 2000

Nevertheless, the use of heritage tourism as an advertisement tool to attract and increase the

volume of tourists to San Juan has proven to be extraordinary. In return, the economical returns

from the tourist sector have contributed greatly to the socioeconomic development of San Juan.

In return, the preservation and restoration of the Old San Juan Historic District has been

economically assured for future generations to come and enjoy.


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CELA 2007The Council of Educators in Landscape Architecture

NEGOT I AT I NG PENN STATE

AUGUST 14-19

LANDSCAPES

proceedings

THE ICONOGRAPHY OF SAN JUAN NATIONAL HISTORIC SITE

JOSE R. BUITRAGO, UNIVERSITY OF GEORGIA SCHOOL OF ENVIRONMENTAL DESIGN

Abstract

On October 12 of 1992 tall ships from all over the world came to cele-brate the Christopher Columbus Grand Regatta in Old San Juan as part of the festivities of the Fifth Centenary of the Discovery of the New World. This magnum event took place along the walls of the magnificent masonry fortifica-tion of San Felipe del Morro, the most important Spanish colonial era military outpost in the Americas. This massive fortress, designed to protect the city and the bay of San Juan, is part of the United States National Park System. With the United Nations designation of San Juan National Historic Zone as a World Heritage Site for its exceptional cultural value, El Morro fortress has joined the ranks of renowned places like Australia’s Great Barrier Reef, Egypt’s Pyramids of Giza, Nepal’s Kathmandu Valley, and India’s Taj Mahal Historic Park. This along with the flourishing heritage tourism industry in Old San Juan has turned El Morro into one of the most visited monuments of the city.

The Puerto Rican Tourism Company’s consciousness about the global iconography of the El Morro sentry boxes encouraged them to take it as the official corporate logo. This was in response to an aggressive media campaign to promote a new form of industry known as heritage tourism. This symbol has been associated not only with the proud and strong Spanish heritage of the city and its residents, but with the entire Island. Puerto Rico was among the first and the last Spanish colonies in the Americas. El Morro has become an

CELA 2007 PENN STATE | NEGOTIATING LANDSCAPES | 95

icon that symbolizes the “vernacular” Puerto Rican postcolonial culture. This neocolonialism perspective is in sharp contrast with the views of the US Park Service and the World Heritage Commission in which the old and beloved city represents the Spanish conquest and dominion of the Americas through the systematic extermination-forceful assimilation of the native cultures (civiliza-tions). In addition to the current American political identity of the residents of the US Commonwealth of Puerto Rico, the district of Old San Juan, El Morro, has become an icon that affirms the existence of a Puerto Rican culture that struggles to survive under the unequal socio-economical and political pressures of their new mother country (USA). Through a more thorough examination of scholastic research and peer review data, this paper will strive to decode and place the symbolism-iconography of this World Heritage Site within the con-text of a postcolonial and neocolonial theoretical framework.

Historic Preamble

Christopher Columbus discovered the Island of San Juan Bautista on No-vember 19, 1493, during his second voyage to the New World. The original inhabitants of the Island, the Taino Indians, called it Boriquen, which in the Arawak language means the land of the almighty lord. It was not until 1506 that the Spaniard Juan Ponce de Leon, an ambitious lieutenant under Colum-bus command, took the initiative to colonize the Island. In 1508, the Caparra Village was founded by Ponce de Leon on the north coast of the Island. Soon, the inhabitants of the second European settlement in the Americas decided to move to a better location, since the original site selected for the village was a swamp. The village was reestablished just across the bay on a rocky islet and renamed Puerto Rico (Rich Port).

The imperialist political agenda of Spain in 1533 established the impor-tance of the city of Puerto Rico to defend the interests of the Spanish Crown in the Americas. Its valuable geographic location as the eastern foremost Is-land of the Caribbean’s Greater Antilles, and extraordinary tropical weather conditions, forced the Spanish Crown to heavily protect the city from con-tinuous attacks through the improvements and construction of fortresses and walls. These attacks were driven by the desire of many European countries to gain possession of the Island from Spain. The city of Puerto Rico, now re-named San Juan, was a strategic point of commerce between the New and Old World. The Bay of San Juan is the largest and deepest natural harbor in the Caribbean Basin. This makes it the first port that any vessel that crossed the


Atlantic Ocean could dock in. This was a seductive commerce instrument that the Spanish Crown was reluctant to loose.

The Spanish Colonial Model (1492-1898)

Puerto Rico, for more than 400 years, was a military stronghold for the Spanish Crown in the Americas. Only citizens who were loyal to the Spanish crown were allowed to migrate to the Island. This demographic distinction makes Puerto Rico unique among the Spanish colonies in the Americas. The Puerto Rico colonists were of direct Spaniard lineage with no desire for separation from the Mother Country. At the time, all the indigenous people were extinct or fully assimilated by the Spanish culture. The city of San Juan took the character of a major Spanish city in direct reflection of the dominant demography. African slaves were also brought to the Island, to aid in agriculture but not at the scale of the continental Americas or neighboring islands. This third demographic group also was assimilated by the Spaniard dominant culture.

Figure 1. View of San Felipe Del Morro Fortress. Photo by author, 1997.

This third demographic group also was assimilated by the Spaniard dominant culture. The mixing of the surviving Taino, the Europeans, and Africans cre-ated a new group called Criollos. Although, of not pure Spaniard lineage, the Criollos also became assimilated by the Spaniard dominant culture who empha-sized above all; loyalty to the Spanish Crown, Roman Catholic faith, and praise in high value about all Spanish culture. The landscape and architecture of San Juan was molded from the “Mother Country” to reflect this policy, thus rein-forcing San Juan's citizens loyalty and direct lineage to the Crown.


Figure 2. View of the walled citadel of Old San Juan. Photo by author, 1997.

Several scholars have argued that this colonial model explained why, dur-ing the Spanish colonial era, the citizens of Puerto Rico never had a strong de-sire to seek independence from the mother country. Although there were some small scale attempts by Criollos to seek some form of representation and to gain local affairs control, these events were never at a scale to be considered threatening to the Spanish Crown control of the Island.

The American Colonial Model (1898 to present)

In 1898, the end of the Hispanic-American War left the United States in possession of Puerto Rico. At the time, the United States was commencing to emerge as a new western power in the region. The American politicians of the era were strong proponents of exporting to the world the democratic Ameri-can values of freedom and liberty. The United States, a former colony to a monarch-imperialist system, was strongly committed to aid any struggling na-tion in the Americas to seek their own sovereignty and to end the European control in the region. Puerto Rico was their ideal candidate to experiment the new “Americanization” since it was the last colony in the Americas of a mon-arch-imperialist system. As noted by Laurie Johnston, on her paper entitled, The Road to Our America: The United States in Latin America and the Caribbean:


With the military occupations of Cuba and Puerto Rico, US capital, busi-ness and culture accelerated their march southward, embarking on pro-grammes of ‘Americanization’ and their infiltration and transformation of the local economies that would enhance US influence in the region. (Ryan 2000, 41-42)

Puerto Rico now became the testing ground to export all that is good about the US and the American way of life. The entire Island socio-economical model of the past was completely discarded and replaced by a new “progressive” model. The Island, which was once known as the poorhouse of the Caribbean, became overnight the second richest “country” in the Ameri-cas. Industrialization, replaces the agrarian society of the 1800’s, and a new emerging middle class was born. Education, income, health, and the way of life were elevated to match the “Mainland US” standards. The landscape and ar-chitecture of the Island now were molded from the new “Mother Country” to

reflect this policy, thus reinforcing the Island’s citizens desired to become more American.

Figure 3. View of Downtown San Juan. Photo by the author, 1997.

The year 1952, marks the date that a new form of government was born. The creation of the US Commonwealth of Puerto Rico (Estado Libre Associado de Puerto Rico de los Estados Unidos de Norte America), a non-incorporated territory


of the US, seeks to give local affairs autonomy to the new American citizens of the Island, but under the direct control of the US Congress. Since its creation; this new form of government, constitutionally unique, has become the source of political unrest, socio-economical disparity, controversy, and anti-constitutional validity. Scholars have argued that the territorial clause govern-ing the Island (unincorporated US territory) has turned Puerto Rico into an American perpetual colony. Puerto Rico was not a colony as defined in the American historic context, which is to serve a foreign empire that directly con-trols and dominate the vernacular-indigenous societies. The colonial definition that best illustrated the Commonwealth status is that offered under a neocolo-nialism theoretical framework. That is; the foreign empire seeks to influence a non-western society through alliances with local factions who favor friendly enterprises with the foreign entity. Accordingly, neocolonialism as defined by The American Heritage Dictionary of the English Language (AHD):

Control of former colonies by colonial powers, especially by eco-nomic means: “By neocolonialism we mean the practice of granting a sort of independence with the concealed intention of making the liberated country a client state.” [Alex Quaison-Sackey]. (AHD, 880)

Scholars may argue, from the historic rhetoric perspective, that the US is not a foreign empire, but by careful examination of the constitutional defini-tion of the Commonwealth (unincorporated US territory clause), Puerto Rico is sort of “sovereign and independent” in the matters of local affairs as long as their actions are not against the best interest of the US Congress.

After more than 100 years since Puerto Rico became a US territory, the American influence over the Island is extremely strong and symbiotic. The neocolonialist relationships between Puerto Rico and the US have influenced every single aspect of the daily life. Puerto Rico today, in many ways, feels, looks, acts, and even smells American, but has maintained its unique Hispanic identity. Major efforts have been made to preserve anything that is left of Puerto Rico’s Hispanic colonial identity. The Hispanic landscapes and archi-tecture have played an important political role in providing a point of reference for cultural identity while embracing the new American way of life. Scholars have argued that the issue of maintaining Puerto Rico’s unique Hispanic iden-tity is what has kept the citizens of the Island fully moving forward to turn Puerto Rico into the 51st State of the Union, thus favoring the Status Quo (Commonwealth), and completely rejecting independence (sovereignty). As


noted by, Robert Aldrich and John Connell in their book entitled, The Last Colonies:

Puerto Rico finally held a referendum on its status in November 1993; 48 percent of the voters favoured the commonwealth, 46 per cent preferred statehood, and a mere 4 per cent supported independence. The tiny propor-tion of votes for independence option – in a record 80 - per cent turnout – made it unlikely that Puerto Rico could in the foreseeable future separate from the United States. (Aldrich Connell 1998, 37)

Recently the US Federal Supreme Court has concluded and stated that the current Status Quo (Commonwealth) of the Island is not a valid form of gov-ernment to be included in future referendums because it is anti-constitutional. The recent Presidential Report on the Status of the Island, that embodied 3 presidential administrations (Bush Senior, Clinton, and GW Bush), recom-mend that the next referendum to solve the status of the Island will include only two options; Statehood or Independence. This 2009-2010 planned refer-endum will be the first one in the history of Puerto Rico - US Congress rela-tions that the Commonwealth Status it’s not an option. Recent media public polls among US Congressmen, politicians, the citizens of Puerto Rico, and the general American public favored the idea of making Puerto Rico the 51st State of the Union. In the history of the US only two unincorporated territories have been completely assimilated by the US; Hawaii and Alaska. Current trends indicate that Puerto Rico may become the third.

Iconography

Heritage tourism has played an important role in the transformation of modern San Juan. Nevertheless, the preservation of the national patrimony has created a series of controversial issues among historians, educators, common citizens, developers, businesspersons, bankers, politicians, investors, and tour-ists. The iconography of sentry boxes has created a stereotypical image of San Juan. Hollywood continuously uses the Old San Juan district as the stage for historic era movies, totally ignoring the ultra modern and tropical skyline that rises above and in the background of the sentry boxes. The reality is that Old San Juan is one of the 7 districts of this Caribbean mega-polis of 2 million in-habitants, but the perpetual imagery preconceived in the minds of the tourist is the old palatial walls and sentry boxes. This imagery well used by tourist re-lated industries propaganda, is in conflict with the educational purposes and the preservation programs of Old San Juan. The historians' efforts to preserve


the old city core, is driven by a desire to protect for future generations, an in-valuable historical landmark. It’s not enough to preserve history by writing the accounts of the facts, but by preserving the land, the instruments, and the buildings where such events took place. On the contrary, there is a group of people who argue that developers have turned Old San Juan into an historic theme park, in which most of the tourists who arrive just want to enjoy the sightseeing of the old city core without any interest in learning the history of old buildings and the history of the people of Puerto Rico. Nevertheless, the benefit of the tourism industry has contributed to the preservation and restora-tion of District of Old San Juan, if the tourist learns nothing at all. As noted by David T. Herbert on his book, Heritage, Tourism and Society:

Heritage tourism is now big business. In economic and entrepreneurial terms it is one of the major success stories of recent years. At a time of declin-ing industrial activity and rising unemployment in Western society, heritage tourism has provided and alternative form of enterprise, creating jobs and gen-erating wealth for local economies. (Herbert 1995, 11)

The revenues generated by tourism were instrumental in funding the res-toration and preservation efforts. The management of the restoration-preservation efforts of the Old San Juan district also became a model of good partnership between the public and private sectors. A model that has been copied by several governments’ tourism companies of nearby Islands and simi-lar US mainland cities.

The success in rescuing the Old San Juan district produced a “renais-sance” among scholars about what it means be Puerto Rican. After all, Puerto Rico, as previously stated, has now been “Americanized.” Anyone who at-tempts to preserve the past (Spanish Colony) was regarded as someone who is against progress. Manuel Mendez-Guerrero stated in his book: San Juan de Puerto Rico:


Figure 4. View of San Juan’s waterfront hotel district of Isla Verde. Photo by the author, 1997.

The year 1955, marks a date of great importance for the national Puerto Rican culture. That year, the governor of Puerto Rico created the Institute of Puerto Rican Culture. The Commonwealth government com-promised for the first time, making use of this new instrument, to pre-serve and encourage in all its forms the Puerto Rican culture. One of the first priorities of this new program was to launch in a novel and dynamic program the conservation and restoration of the national monuments and historic zones in the country, especially the ones in San Juan. Programs of this nature were not popular at the time, and few cities promoted. In San Juan there was a vast majority of people convinced that if we preserved the old buildings we are indeed stropping the progress, and destroying the evolution of architecture. The commercial banks were rejecting any loan designated to restore an old brick structure of more than 200 years. The owners were encouraged by the banking industry to sell the structures at a lower taxable rate. (Mendez-Guerrero 1989, 22)

The neocolonialist relationship of Puerto Rico and the US prompted, momentarily speaking, a shift of cultural attitudes among the San Juan citizens to discard the old (Spanish heritage) and embrace the new (American heritage) in light of progress. Time proves that both preservation and progress are equally important for the evolution of culture and societies.


Figure 5. View of Old San Juan. Photo by the author, 1997.

The palatial walls, the fortress, and sentry boxes of Old San Juan symbol-ize the many aspects of Puerto Rican culture. It represents the strong and proud Hispanic heritage of the American citizens of the Island. The tourists might see, in those walls, the imperialist dominion of the Spanish Crown in the Americas, but the residents of the city might see the high value that Spain gave to the inhabitants of the Island. These contradictory views of the Old San Juan district, exemplified a postcolonial perspective among two distinctive viewers and their own critical reasoning context. To define the postcolonial perspec-tive in simple terms is; why the grass is greener on the other side or what is beautiful? Postcolonialism as defined on the book, Post-Colonialism: A Very Short Introduction, by Robert J. C. Young states that;

Since the early 1980’s, Postcolonialism has developed a body of writing that attempts to shift the dominant ways in which the relations between west-ern and non-western people and their worlds are viewed. What does that means? It means turning the world upside down. It means looking from the other side of the photograph, experiencing how differently things look when you live in Baghdad or Benin rather than Berlin or Boston, and understanding why. It means realizing that when the western people look at the non-western


world what they see is often more a mirror image of themselves and their own assumptions that the reality of what is really there, or of how people outside the west actually feel and perceive themselves. (Young 2003, 2)

Postcolonialism offers a way to see the world from the perspective of the non-western cultures (Asia, Africa, and Latin America). Today the western world is composed of European Estates and North America. Postcolonialism, allowed seeing the world through the eyes of the vernacular culture that was oppressed and silenced by the direct control of a dominant foreign military-economical empire. To see the Old San Juan district from the perspective of the San Juaneros is to acknowledge; Spain’s high value and pride to the Island and its citizens, or the military-monarchic fist control views of the American Tourist who based their views from their own historic experience. The post-colonial theoretical framework, allowed examining the meaning and symbolism of the Old San Juan district from a different perspective. This romantic per-spective of the Old San Juan district by the San Juaneros is rooted on a Span-ish colonial era policy known as Royal Grace Issue.

The strong Spanish heritage, which can be traced for more than 400 years, is a result of a political strategy in which the Spanish Crown put in practice in Puerto Rico. As noted by Adolfo de Hostos in his book, Historia de San Juan, Ciudad Murada:

The increasingly favored idea of the Crown to turn it into the “fore-front and vanguard” of the colonial empire in the Americas, a stronghold for the expansion of the Roman Catholic Faith, and of least importance the economic development of the Island, the select policy took steps fur-ther to attract nobility and aristocracy, natural defenders of the Monarchy; exclusion of admission of foreigners, Spanish enemies, commerce com-petitors, opposers of the Catholic Faith and propagandist of Protestant-ism (Hostos 1948, 183)

This policy known as Real Cedula de Gracia (Royal Graces Issue), granted the citizens of San Juan and Puerto Rico a large concentration of honorable Spanish family lineage, nobility and aristocracy, excluding any group of people that at the time was considered least distinguished. The Spaniard lineage of its inhabitants safeguarded the colony’s desire of any separation from the “Mother Country,” since Puerto Ricans were Spaniards and loyal citizens of the Spanish Crown. This policy was so successfully implemented that Puerto


Rico was the last Spanish Colony in the Americas. With the contagious separa-tion and independence movements in the Americas, most of the loyal citizens of the Spanish Crown living on those colonies, were forced to leave their home land and emigrated to; Spain, Cuba, or Puerto Rico. This caused an in-crement in the immigration pattern which kept overwhelming the numbers of the local independence faction in Puerto Rico, and in many ways suppressing such movement.

San Juan Historical Zone represents not only the strong Spanish heritage of Puerto Rico, but also represents the visible and physical value that Spain felt for San Juan and its citizens. It’s also a mute witness of the long and bloody battles of many European powers, trying to gain possession of the Island and their inhabitants. This created a sense of high value and pride among their in-habitants which for more that 400 years witnessed many failed conquest at-tempts that the “Mother Country” courageously defended and protected. When tourist saw a wall in San Juan, they probably thought about the past Spanish dominion of the Island. When a native saw the same wall, memories of the Spanish roots and the Mother Country’s high value to the Island and its citizens came through. Even today, some scholars argue that is in this same high value vision of Puerto Rico that kept the United States Congress promo-tion of statehood for the Island. The fact that Puerto Rico was conquered and invaded by the United States in 1898 could be sending Puerto Ricans an un-conscious message about their history. Is Puerto Rico a highly valuable treas-ure that everybody wants to gain possession of?

Conclusions

The cultural history of Puerto Rico is written on the landscapes and archi-tecture of the Island’s Commonwealth. It is natural for people to associate their cultural heritage and identity with monuments of past eras. History also tells that societies evolve and change. Attitudes, perceptions, politics, and sym-bolisms associated with those same monuments change according to the pace of time. Today’s Puerto Rican society perception of cultural heritage, and their iconographical symbols associated with it, develops through the span of time. Culture is complex and ever changing. The matter of the fact is that Old San Juan is not a static symbol that represents a past era. Old San Juan is a living city that adapts to the changes of time. Dennis J. Gayle and Jonathan N. Goodrich noted on their book, Tourism Marketing and Management in the Carib-bean:


Much emphasis is placed on the sites and monuments dimension of culture. This is, in a way, inevitable. It is, after all, the easy route out. Felix Vazquez of Puerto Rico reminded us that Old San Juan, as we have named the historical zone of our city, is not just the remnant of the Span-ish Colonial era with its architecture, fortification and monuments. It is a living museum. People live there. Merchants trade and work there. Busi-nessmen and bankers hold court there, and governmental affairs are con-ducted there among and within the centuries’ old buildings and walls. (Gayle and Goodrich 1993, 144)

Old San Juan is more than a museum. The iconic symbolism of the be-loved city is of what it represents; the ever adapting capabilities of their citi-zens to face the changes of time without loosing their core cultural heritage, identity and uniqueness. Old San Juan not only witnessed a change of flags, but the evolution of the Puerto Rican society in a postcolonial era that is still unresolved. The future is ahead, and whatever the outcome of the referendum that seeks a more close relationship with the US, Old San Juan will stand to remind its people of where they come from and where are they heading now.

References

Aldrich, Robert and John Connell. 1998. The Last Colonies. Cambridge: Cambridge University Press.

Gayle, Dennis J. and Jonathan N. Goodrich. 1993. Tourism Marketing and Management in the Caribbean. New York: Routledge.

Herbert, David T. 1995. Heritage, Tourism and Society. London: Mansell.

Hostos, Adolfo de. 1948. Historia de San Juan, Ciudad Murada. Barcelona: M. Pareja-Montaña.

Mendez-Guerrero, Manuel. 1989. San Juan de Puerto Rico. Spain: Ediciones de Cultura Hispanica.

Morris, William, ed. 1981. The American Heritage Dictionary of the English Language. Boston: Houghton Mifflin Company.

Ryan, David and Victor Pungong, ed. 2000. The United States and Decolonization: Power and Freedom. London: Macmillan Press Ltd.

Young, Robert J.C. 2003. Post-Colonialism: A Very Short Introduction. Oxford: Oxford University Press.


ASHLEY CALABRIA

A N D

J O S E 6 U l T R A G O

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- DELMAR 4 li I CENGAGE Learning.

Computer Graphics for Landscape Architects: An lntroduction Ashley Calabria and Jose R. Buitrago

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Dedication / xiii

Preface / xv

About the Authors / xxi

Acknowledgments / xxiii

by Professor Jose R. Bzritrago / 01

Chapter Objective / 01

lntroduction to AutoCAD / 01

AutoCAD Screen and Preferences / 02

The AutoCAD Default Screen / 02

Model Space and Paper Space / 04

Setting Up the Drawing / 04

Units 1 04

Limits of Drawing-Paper Size / 06

Layers 1 14

The Layer Properties Manager / 14

Changing the Layer Line Type 1 16

Changing the Layer Line Weight-Thickness 1 16

Changing the Layer Color 1 17

Layers On, Freeze, Lock, Plot Style, and Plot / 20

Opening and Closing the Properties Layer Manager 1 20

Properties Layer Managers Status Display Windows / 20

Preface

By Professor Ashley Calabria

In my thirteen years, our department has taught over a dozen different computer programs through a variety of different classes. It became apparent that our department and the profession itself were experiencing a paradigm shift from hand to computer graphics, and between graphic programs. Out of curiosity and with the hope of keeping our computer graphics curriculum forward-looking, I started surveying our interns to find out how much hand graphics and computer graphics they were using, as well as what programs they were using during their internships. Every summer we place 60 to 80 interns in a variety of landscape-architecture-related fields, primarily throughout, but not limited to, the southeastern United States. The results are proving quite interesting.

'm By Professor Jose A. Buitrago

There is a saying that " two heads think better than one," and this book is a clear example of this almost universal concept. The authors of this book, after several years of struggling to f ind a single book that fit the entire scope of the computer graphics course they were teaching to both undergraduate and graduate students of landscape architecture at the University of Georgia, decided over a "latte gathering" to take on the challenge themselves, and combined their efforts to write this book. Utilizing our own notes, experience, and materials that we generated for these classes, we.wrote this book with the intent of harnessing that information into a condensed, introduc- tory, and easy-to-follow tutorial format for both landscape architecture students and professionals who are interested in using more technology but who never had the time or chance to learn it.

The question of where to start was the initial research question that inspired Assis- tant Professor Ashley Calabria in her academic investigation into tracking practitioners' shift f rom hand to computer graphics, as computer graphics programs increasingly took hold in landscape architecture firms over the last several years. Calabria's research methodology led to the development of a survey that seeks to identify the computer

xv

.i PREFACE XVll

graphics programs most commonly used by students during their required summer professional internship. This survey has also helped us evolve our computer graphics courses and inform students of the trends and skills in the current job market.

Hand and Computer Graphics The term "virtual office" has been circulating for several years, and since Professor Buitrago and I teach both hand and computer graphics, we are interested in the practi- cality of this. The surveys are unraveling a compelling story that seems to question this paradigm shift from hand to computer graphics as a one-way transition.

The f i rst survey was sent out in 2004 t o University of . Georgia, School of Environmental Design (UGA SED) interns. Sixty-three surveys were returned. The first question we wanted to address was how much hand or computer graphics were being used in anticipation of potential hand and computer course curriculum shifts.

No graphics

The 2004 results, shown in the preceding figure, did not provide such a surprising statistic, but over time I assumed that the number of students who used only computer graphics would increase, with numbers drawing from the other categories of hand graphics, no graphics and both methods. However, in the 2006 survey, 65 were returned, showing an increase in the number of students using both methods and a decrease in students using solely computer graphics and, thankfully, a decrease in those using no graphics in their internships.

No graphics Both methods A O/ Hand graphics

0 e: t asked, firms seem to express a nonquantitative value on how design is registered and

1 carried out via hand or computer. This initiated a survey in 2006 that was sent t o firms

e hiring our interns. They were asked to identify the top skills they wanted to see in student resumes and portfolios. In the 26 responses, the top four skill sets were

Cleantorganized layout

Computer graphics

Hand graphics

Conceptual graphics and writing skills (tied)

The fact that firms still rank hand graphics and other forms of traditional communication so highly, is undeniably evident in both surveys and personal interviews. As pro- fessors of hand graphics as well, we both use this data to demonstrate to students that there is no definitive answer on using one method over the other for the for the different levels of graphic communication needed. Both methods should be valued for their benefits to the different forms of graphic representation and communication throughout the design process.

I 1 Computer Programs for Landscape flrchitects

Computer applications are no exception to the shift in graphic communication in design fields. So how were the programs for this book chosen? Returning to the intern surveys of 2004 and 2006, we can see some dramatic changes that occurred in just two years.

Programs Used

In 2004 AutoCAD was the most commonly used program, and Photoshop came in second with just over half the students using it in their internships. A few stated using GIs and Landcadd as well as Quark Xpress and Adobe Pagemaker.

This statistical data demonstrate that both methods still play a valuable role in the field of landscape architecture. Evaluating why is the topic for another book, but when

PREFACE XIX

The most common project types created by computer graphics programs were for drafting, presentation drawings, digital imagery, rendering, and creating section- elevations, respectively.

This information has been well received at conferences, published in proceedings, '

and written about in articles. But equally important is providing this information to students, encouraging opportunities to develop a variety of communication skills and to open a dialogue between academia and the profession during this t ime of graphic change.

This research will continue as a way to capture the transition our field is experiencing, to document the trends, and to investigate new technologies as they advance. Future editions of this book will reflect those changes. We hope you find this information and book helpful. Remember

Take breaks when working on the computer.

@ Be patient with yourself as you learn these new skills.

@ Don't worry about making mistakes.

Save often.

@I And try to have fun with i t !

Programs Used

In 2006 the statistical data identified that interns were using nearly as much Pho- toshop as AutoCAD. And most surprisingly, SketchUp was the third most widely used program in the 2006 results, although in 2004 it was not even listed under the "other" category. Whereas AutoCAD, Photoshop, and SketchUp ranked as most widely used by SED interns, employers in a similar question (not shown) ranked using AutoCAD and Photoshop equally, PowerPoint, and then SketchUp.

The most recent survey, sent out to firms in the summer of 2007, reinforces the use of the programs selected for this book. Thirty-six firms responded, stating that more, offices used Photoshop than AutoCAD, with PowerPoint coming in third and SketchUp

Programs Used

Thank you, mom and dad, for raising me with love and support. For my wonderful hus- band, Gil, and my magnificent kids, Lorenzo and Chloe, thank you for being patient and for always making me smile when I come home. Love.

I wish t o express m y sincere thanks t o m y colleagues, students, and staff at the University of Georgia's School of Environmental Design for their unconditional support and accommodations in the writing of this book. Many thanks t o Marsha Grizzle, who never said no to m y short notice grammar spell check request. To m y colleague and friend, Ashley Calabria, who despite her hectic schedule, joined me in the pursuit of this venture. Last but not the least, to my family, I wil l be forever grateful for your unconditional love, patience, and support.

Addit ionally, the authors and Delmar Cengage Learning wou ld like t o thank the fol lowing individuals for their t ime and professional expertise in reviewing the manuscripts:

David Hopman Sean I? Michael The University of Texas at Arlington Washington State University

Pullman, WA

Elizabeth Mogen Phillip S. Waite Colorado State University Washington State University Fort Collins, CO Pullman, WA

XXlll

2 CHAPTER 1

the reader step by step on how to draft a first drawing. Also, the author's research supported the exploration of CAD as a nontraditional rendering tool (rather than technical drafting), due to the demand by landscape architecture firms and practitioners who require potential employees and upcoming landscape architecture graduates to have this knowledge, skill, and expertise. This chapter will guide you through a learning exploration of CAD (shorter version for CADD) beyond its capabilities as a precision drafting tool, and in the orderly format that is commonly used in landscape architecture professional practice. Let us get started.

AUTOCAD 3

Later in this chapter, we wi l l explain how to use the key typo co,mmand. Make sure to take the time to learn all the different names of the tool iconlbuttons as we will be refer- ring to them by their names (figure 1-2).

'3 File Edit View Insert Format Tools Draw Dimension L

I ~ o # P O B @ * n B / & C - ;

36 CHAPTER 1

FIGURE 1-55 Changing the line layer by scrolling down on the Layer window.

I!)Conmand: Specirg opposlrc corner: I!

FIGURE156 Changing the radial lines to the QV-Medium layer.

AUTOCAD 37

FIGURE 1-57 Select and make QV-Shadow the active layer.

needed, so it can be deleted. Use the erasing tool or just select the line and hit the delete key on your keyboard. Then select the zigzag red line and offset 6". Next, draw a line across the entire tree symbol, and use the tool to cut half of the copied zigzag line (shadow) (figures 1-58 and 1-59).

Delete the trim line and change the half shadow off set line to the QV-Shadow layer. Change the thickness of the half shadow line to create the illusion of a shadow. Just type the command "pedit." The Command Prompt window now will read "Select polyline or [multiple]." Click with the left button of the mouse to select the shadow line, and the Command Prompt window now reads "Enter an option [CloselJoinNVidthlEdit Vertex1 Fit/Spline/Decurve/Ltype genIUndo]." Type W for width, and in the next Command Prompt window type 3". This will change the width of the shadow line, thus creating the feel of a shadow (figure 1-60).

This format wil l allow the CAD user to create an extensive library of graphic tree symbols that can be copied and used extensively throughout the drawing. CAD wil l also let the user group these layers into one object without altering the linetype, name, colors, or thickness of the symbol. This tool is called m. Creating Blocks Writing a block will allow the CAD user to group several objects into one. There are several ways to access this tool. The tool can be accessed by typing "wblock" in the Command Prompt window (figure 1-61).

68 CHAPTER 1 AUTOCAD 69

on different colors, linetype, and lineweights. Include several areas containing a hatch pattern. Please refer to the "Creating your first drawing" section of this chapter for further information. Once your CAD rendering on model space is complete, the next step is to create a page layout with the standard title block information.

-. - -. - - . - - - - - - - -- 65W2l:T utZ.lU'.UU' S W , GRID ORTHO polpsl OlRbSK OUCS. W LW -&@-a

FIGURE 1-114 The authors' CAD plan for Lernbi Park.

In order to create a Page Layout, atthe bottom toolbar, hit the tabthat reads Layout 1. This will close the model space view and turn the drawing into paper space (Layout 1) view. Earlier in this chapter, the authors explained how to set up the limits of the Draw- ing (Paper Size) by selecting the - under =-- on the top toolbar of the screen (figure 1-1 15). Select the paper size and orientation per your plotterlprinter options. The authors have used a standard tabloid size format (1 1" x 17") on landscape view for illustrating this section. Once your paper size and orientation are selected, the drawing drafted in model space should be displayed inside a rectangle at the center of a white page background (figure 1-1 16). The frame where the drawing is located is called viewport.

On paper space, the authors recommend that you type your basic Title block information such as Title of Project, Address, Client, Your Company Logo, License Number and Registered Landscape Architect Stamp, North Arrow, Scale, Frames, and any other information as needed. The authors also recommend that this information be drawn on a specific layer. The rectangle (B) will be printed if the layer where the is located is set to plot. Depending on the CAD user preference, such as the author's choice, the (rectangle) has been set up t o a nonplot layer. Setting the

(rectangle) to a nonplot layer would not affect the content of the B,

8C\aaaoo\ VkDslVs [ I-- - - 4

d - . - - - - $214,

3 La ad suwm la eah m W PffiESETUP

FIGURE 1-115 Under the a top tab, scroll down and select -.

FIGURE 1-116 Paper space view of Lernbi Park inside the window.

This chapter introduces readers to the step-by-step process of exchanging (importing)

an AutoCAD drawing into Adobe Photoshop CS2. This program interchange will al-

low readers to learn how to render an AutoCAD document using Adobe Photoshop CS2.

By the end of this chapter you should be able to render your CAD drawing using several

rendering techniques in Photoshop such as air brush, blue print, sepia, water color, color 1 ~enc i l . and color marker finishes.

" " \ +.."'9

described as cold, generic, and bare. In sharp contrast,'tradit~o~~a:~~=h~&n~d."r;~i . --$ ,.;i: +qf: - -il~eF drawn media is considered the absolute best format td il)u$trqrci ;&Q,fii$?$$.'j sign," and the true measure for gauging the talent o f the designer.''$he '. general assumption is that CAD is solely used for assisting in the creation of construction documents and not to be used for other "creative" uses. In the early years of the development of the CAD software, most of these assumptions were certainly true, but recent advances in computer technology are challenging these views.

The newly revised and improved versions of CAD have begun to incorporate "color rendering" tools such as M-Color (a plug-in for CAD). Although these improvements are directed toward the needs of the CAD- engineer base market, they are still in the early stages of development. On the other hand, CAD is becoming more flexible and compatible with other

im 142 CHAPTER 3

FIGLIRE 3-31 Color Render 1 layer with opacity level set to 100%.

FlGURE3-32 Color Render 1 layer with opacity level set to 26%.

FROM AUTOCAD TO ADOBE PHOTOSHOP CS2 RENDERING 143

Lcmbi Park

FlGLlRE3-34 The -floating tool window showing only one layer (the active layer) after the image has been flatten.

* .-

Edt h IrnapeReady SMt+CM+M - .- - - - - -. . Ctrl+W

h;,: ,::: ;..::<;

Close and Go To Bridge ... Ylii+Ctrl+W

F'rlnt with Preview ... w One Copy hint CnBns. ..

T rmhi ParL FIGURE 3-35 Under in the top toolbar, select m.

FIGURE 3-33 Under the top tool tab, scroll down and select . @ - .

im 150 CHAPTER 3

FIGURE 3-45 The * pop-up menu window.

Aging the blueprint

Anyone who ever came across an old blueprint plan will be familiar with fading blue edges, and water and stain marks on the paper. A combination of the Gradient, Dodge, and Burn tools can be used to achieve this old appearance. These tools will allow you to create a faded-out appearance on the background. Use the -and experiment with several color scheme combinations such as a dark and light tone of blue. The Gradient tool is located on the side toolbar. Look for the Bucket tool and click on the little corner arrow to launch the Gradient tool (figure 3-46). The gradient options are located at the top of the toolbar. Again, make sure the Background layer is the active layer. Use the Marquee tool to eraseldelete the previous solid field of dark blue to start clean over a new background.

The Gradient tool option will allow the user to change the default settings of the highlights and dark values. Keep in mind that the default color for the gradient is the color that has been previously selected in the w, so make sure Dark Blue is selected before experimenting with the Gradient tool (figure 3-47).

--..L< To get a more aged appearance, use the Dodge or Burn tools to create highlights or dark spots along the edges or the center of the paper. Remember that all kinds of paper age with time, light, and humidity, and thus using the Dodge or Burn tool will ac- complish this feel. Also, experiment with the style of brush, size, range, and exposure parameters. Use the "Drippy Water" brush from the styles in combination with the Dodge tool to create the effect of wet storage damage. Again, make sure the background (Dark Blue) layer is the active layer (figure 3-48).

'Sr FROM AUTOCAD TO ADOBE PHOTOSHOP CS2 RENDERING 151

FIGURE 3-46 The Gradient tool option is located in the floating toolbar, next to the Eraser Icon tool.

,- Presets t nu I

Name: Custom 1 -

-

pop-up menu window.

166 CHAPTER 3

FlGURE3-68 Use the eraser to clean some of the overspills created by the drippy brush, or use the Marquee tool to isolate specific areas to be rendered.

Once you render your composition, you need to "texturize" all the color layers in order t o enhance the water color paper feel.

Merging the layers and texturizi~rg the water color paper

Most water color paper has some kind of texture. Adobe Photoshop CS2 will allow you to texture your drawing to match that of wet media paper, thus enhancing the water color feel of your rendering. In order to "texture" your drawing, the mode must be set in to 8 Bits per channel (figure 3-69).

The Texturizing tool will complete the feel and appearance of water color. This tool will create a visual texture that resembles canvas, burlap, sandstone, and brick. Before using this tool, save one document copy first as an active Photoshop document, and a second copy to be used to create the finished image. The active Photoshop document copy you wil l keep as a backup copy in case further revisions are required. The second

, . '-I&, copy is the one to merge all the color layers and the background first before textur-

ize. Keeping ,an active photoshop document with all the layers intact wil l enable the user to make further changes or revisions to the original. Once the layers are flattened, no further manipulation or changes are allowed. Do not texturize the Black Line layer because this might create some distortion, thus weakening the general appeal of the composition. To avoid Texturizing the Black Line layer, turn this layer off first before merging all the layers and texturizing (figure 3-70).

FROM AUTOCAD TO ADOBE PHOTOSHOP CS2 RENDERING 167

I Indexed Cobr. .. I . ; CMYKCda

w

FIGURE 3-69 Under t h e m top too.lbar, scroll down to Mode and select B.

FlGURE3-70 To avoidTexturizing the Black Line layer, turn this layer off first before merging all the layers and texturizing.

238 CHAPTER 6

The computer programs used in this book have been selected based on their popu- larity in the field of landscape architecture and have been supported by the survey information described in the preface. But the entire series of graphics created for a project rarely are limited to a single application or medium. Although program interchange has been mentioned in various chapters of this book, tying it all together can still be confus- ing. It takes time and practice to determine at which point a drawing gets sketched by hand and/or drafted in AutoCAD, rendered with markers and/or rendered in Photoshop, or sketched by hand and/or modeled in SketchUp.

Maneuvering through the various computer programs depends largely on understanding file extensions and compatibility. Extensions are suffixes used to describe a file type, usually indicating how the file has been saved, in which program, and what the file might contain (see Chapter 4 for more detailed information on file extensions when scanning). At publication, the programs used in this book have different file extensions that may or may not be readable in other programs. For instance, the most common way to exchange program information for completing a project might use a digital file for a base plan-sketches or preliminary drawings done by hand and scanned into Auto- CAD for drafting. Once approved, the file can be converted for rendering in Photoshop, printed out for some additional hand rendering techniques, and most likely imported from AutoCAD into SketchUp for quick 3D modeling to be ultimately used for tracing over by hand. The final series of drawings could be brought together in InDesign for a document or boards for presentation. This is why it is important to understand program interchange and file extensions.

flutoCRO to Photoshop AutoCAD 2007 does not currently have a direct saving method for exchanging DWG files into file formats that Photoshop can read. There are two easy ways t o address this exchange, both of which should be performed in layout (not model space). One is t o go to (ab and then Export and set File of type = .eps, or Encapsulated Post Script, so as to be able t o bring the file into Photoshop. Then select a location, a name and save it. In Photoshop, go t o and w, find your file and select -. A Ras- terizing Generic .eps format dialog box appears, where you can adjust the width, height, resolution, and color mode. Depending on the project, I usually select 36" wide, allow the height to adjust proportionately, adjust a resolution of 300, and select RGB color mode. Checking anti-alias helps smooth the lines in transition from vector to raster format and constrain proportions keeps the width and height linked so the project dimensions do not get distorted.

Another way to transfer files between AutoCAD and Photoshop is to convert the , . ..,. file to a .pdf. The easiest way to work with .pdf is to set .pdf as the printer in AutoCAD

layout or to go to m-rn and set .dwg to .pdf or Adobe PDF as the printer. Set your other plotting parameters and then select and choose a location, name and save it. In Photoshop, go to m and w, then select .pdf file. In the dialog box, select Crop to Media Box (which keeps the same paper size), set the resolution to 300 and color mode to RGB unless you are using other standards. Checking anti-alias keeps the lines smoother, and I usually leave the drawing as 8 bit.

.i PROGRAM INTERCHANGE AND STUDENT PROJECT EXAMPLES 239

RutoCflO to SketchUp Although you can import .jpeg, .tiff, and .bmp files, using the .dwg extension is the most interactive way, allowing SketchUp to read existing lines from AutoCAD to help create the surfaces needed for quick 3D modeling. Keep in mind that at the t ime this book was written, Google SketchUp 6 will not read AutoCAD 2007; so, when saving the drawing, select AutoCAD 2004 or an earlier version. To open it in SketchUp, go to m-m. For Files of type, select .dwg. Once the Import Results dialog box has finished, you can close i t and start tracing your work t o create surfaces or insert components. You can check to verify or change the scale of the drawing by using the Tape Measure across a known distance and checking the value control box. If it does not read the distance cor- rectly, you can type it in at this time and then select the Resize the Entire Model option in the box.

ShetchUp to Photoshop While working in SketchUp, create the scenes that will be printed or used. This allows for more detailed materials or components without bogging down the computer and it also helps keep consistent with selected views. Zoom, orbit, and pan into the view you want t o print and then go t o m , m, select w, and for File type, choose either .tiff or .jpeg. Explanations of each of these file extensions is listed in Chapter 4 of this book. In Photoshop, go to m, then m, and find the document.

Images in InOesign Projects should be converted to .jpeg for inclusion in an InDesign document. As described above, once AutoCAD and SketchUp projects get converted to a format that can be read in Photoshop, the image can then be saved as a .jpeg. Never copy and paste an image from Photoshop to InDesign: the image loses resolution and it becomes unman- ageable when using the Links Palette. Always save the image as a .jpeg. Create a picture frame box and go to and then Place t o locate and insert an image.

Student Prqiect Examples from Rshley Calabria and Jose A. Huitrago i u [Graduate and ~ndergnduate leuelsl

-

The following images (figures 6-1 to 6-21) were primarily created by the authors'students from an introduction to computer graphics course, a portfolio development course that utilizes Photoshop for imagery and rendering and other course projects that were based on skills learned in the aforementioned classes. Their imaginative resourceful- ness was the authors' inspiration for this textbook.

The results of these program exchanges can be seen in their examples. To our students, our sincerest gratitude.

im 248 CHAPTER 6

.i PROGRAM INTERCHANGE AND STUDENT PROJECT EXAMPLES 249

FIGURE 6-14 AutoCAD drawing rendered in Photoshop as color pencil by Catherine Hawkins, Introduction to FlGURE6-16 AutoCAD drawing rendered in Photoshop as color chalk technique by Steve B. Arnold, Advanced Computer Graphics: Professor Buitrago. Computer Graphics Course: Professor Buitrago.

SHEET I OF I

FlGURE6-15 AutoCAD drawing rendered in Photoshop as air brush technique by Jessica Hewett, lntroduction to Computer Graphics Course: Professor Buitrago.

I FIGURE617 AutoCAD drawing rendered in Photoshop as old blue print by Melissa Ryckely, Advanced Computer Graphics Course: Professor Buitrago.

P R O G R A M INTERCHANGE A N D STUDENT P R O J E C T E X A M P L E S 251

FIGURE620 AutoCAD drawing rendered in Photoshop using a water color technique on texture background look technique by Cecily C. Williams, Introduction to Computer Graphics Course: Professor Buitrago.

FIGURE621 AutoCAD-drafted, hand-sketched, and Photoshop-rendered. By Amy Conway designed i n Design Studio for Josh Koons and rendered in Photoshop for Portfolio Development: Professor Calabria.

1 | L a n d s c a p e A r c h i t e c t u r e D e s i g n S t u d i o I - F a l l

Student Name: ______________________________ Date: _____________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Instructors: Buitrago, Fox, Hall, Longenecker, & Martin LAND 2010 - Landscape Architecture Design Studio I CALL #: 70 193 Assistant Professor: José R. Buitrago When: Monday & Friday 1:25 – 4:45 PM Wednesday 1:25 – 3:20 PM Where: 4th Floor Studio - Caldwell Hall Office: 407 Caldwell Hall Office Hours: Open Door policy or by appointment. Phone: (706) 583-0942 E-Mail: [email protected] PREREQUISITES: None COURSE DESCRIPTION: The elements, principles, and processes of visual design as a foundation for environmental design. Emphasis is on the development of creativity and skills through the application of theory and techniques in a series of two and three dimensional design projects. A 4 hours lecture, 8 hours lab per week COURSE OBJECTIVES: Knowledge: Upon completion of this course, students with a passing grade will have demonstrated the following:

• An understanding of the basic elements, principles, processes, and language of design.

• Facility in using process graphics to explore design ideas (visual thinking). • How to generate and communicate design ideas with clarity and effectiveness

through graphic, verbal and written communication. • A broader and deeper knowledge of design and its applications in various

disciplines. Skills: Upon completion of this course, students with a passing grade will have demonstrated the following:

• An understanding of graphic techniques in a variety of mediums. • Proficiency in using the vocabulary of design • The ability to manipulate form to affect content • The ability to analyze and critique design (critical thinking skills) • The ability to express ideas verbally, graphically and in writing.


Values: Upon completion of this course, students with a passing grade will have demonstrated the following:

• Awareness of the importance of creative problem solving in society. • Awareness of the importance of incorporating history and culture as an integral

component of the design process. • Awareness of ethical norms • An understanding of the importance of a professional, congenial, mutually

supportive and considerate studio environment. METHODS: This class follows the protocols of a studio format with lectures, demonstrations and field trips supporting information supplied through readings and textbooks. Impromptu campus walks, pin-up sessions and class discussions will be integral to the studio experience. Take home quizzes, exams and essays may be included to emphasize the important concepts to be gained from readings and research. Students will have portions of some studios allotted for in-class individual (or group) work time, but students are expected to continue individual work outside of class as well. Studio meets 8 contact hours per week and each student should plan to spend approximately 8-10 hours outside class each week working on projects. An important part of evaluation in a design studio is the critique. A critique by definition is, “the art of evaluating or analyzing works of art or literature” (Webster’s Ninth New Collegiate Dictionary). This process of review and evaluation is intended to advance the quality of students’ work. It is only successful when students maintain objectivity towards their work and a positive and productive outlook. REQUIRED TEXTBOOKS:

• Ching, Francis D.K. Architecture: Form, Space & Order. New York: Van Nostrand Reinhold, 1996. ISBN 0471286168

• Dee, Catherine. Form and Fabric in Landscape Architecture: A Visual Introduction. New York: Spon Press, 2001. ISBN 0415246385

OPTIONAL TEXTBOOKS:

• Booth, Norman K. Basic Elements of Landscape Architectural Design. Illinois: Waveland Press Inc., 1990. ISBN 0881334782

• Ching, Francis D.K. Drawing: A Creative Process. New York: Van Nostrand Reinhold, 1990. ISBN 047128968X

• Wang, Thomas C. Plan and Section Drawing. New York: Van Nostrand Reinhold, 1996. ISBN 0471286087 REQUIRED CLASS MATERIAL:

• Basic drafting materials/tools as required for your Land 2210- Landscape Architecture Graphics class.

• A box of metal T-Pins.


• 11” x 14” High Grade Sketch Journal (See Sketch Journal Section on this Syllabus).

• Additional material will be required on a project-by-project basis. SKETCH JOURNAL: The sketch journal will be a working journal that reflects the student’s involvement with the design process. It is to be organized using suitable papers (lined, unlined), dividers, envelopes, etcetera. It is to contain: syllabus, handouts, notes from class, assignments, first ideas and second thoughts, articles and images from magazines and newspapers, quotes, night thoughts and dreams, drawings and verbal images from surroundings, practice lettering, research, annotated bibliographies, and etcetera. Always have paper and pencil with you (or carry inside your journal), and always bring your journal to class. SUPPLEMENTAL READINGS & REFERENCES: Supplemental readings will be assigned on a project by project basis and be placed on reserve in the reading room. Since it is a copyright infringement for instructors to photocopy written materials for students, all readings will be placed on reserve so that can you can either read them in the resource center or photocopy them for yourself. Photocopying for personal use is completely legal. Other class material will be made available electronically via the SED Server. The file path of the electronic class folder is: Desktop Screen / My Network Places / Entire Network / Microsoft Windows Network / Env_design / Caldwell / Cald-class / Land 2010 GRADING SYSTEM: Grading is based on the University System Percentage as follows: A = 100%-95% Excellent: Work reflecting superior design and graphic ability A- = 94.9%-90% logically thought out and presented. Changes or revisions would be minimal. B+ = 87%-89.9% Good: Work representing a good understanding of the theory and B = 83%-86.9% concepts involved in the project but should be slightly reworked. B- = 80%-82.9% C+ = 77%-79.9% Fair: Work which indicates a satisfactory understanding and C = 73%-76.9% execution of the project. Moderate revisions would be necessary. C- = 70%-72.9% D = 60%-69.9% Poor: Work which in incomplete and in the design process and project solutions are poor or inconsistent. Work shows lack of comprehension of subject matter and would require extensive

revisions. F = 59.9% Unacceptable


Students who fall behind in class work are STRONGLY encouraged to withdraw from the class. A grade of incomplete will only be given in extenuating circumstances. GRADING: Grading will be based on performance in the following projects/assignments:

• Project 1: Shape Up 100 Points 20% of Semester Grade • Project 2: Color Theory 100 Points 20% of Semester Grade • Project 3: The Book 100 Points 20% of Semester Grade • Project 4: The Painting 100 points 20% of Semester Grade • Project 5: Emotions 100 Points 20% of Semester Grade ___________________________________________________________________ • Total 500 Points 100% Semester Grade

Each student will receive a problem statement outlining the requirements and details for each of the above assignments. Projects have been designed to present a realistic professional challenge. CLASS STANDARDS: Attendance: Is mandatory and a record will be kept each class meeting. At the beginning or end of each class period, it is the student’s responsibility to sign the attendance sheet to receive full credit. Failure to sign in will count as an unexcused absence. In addition, habitual tardiness (arriving 15 minutes after class commence) will lower your grade at instructor’s discretion. Each student has three “sick” days during the entire semester. These days are intended to be used when you cannot attend class because of illness. I do not require a medical excuse; instead you are allotted three days to recuperate. Every absence from class will be counted if you produce a medical-certified excuse or not. The fourth absence (regardless of reason) will reduce your final grade by one letter grade. The fifth absence will reduce your final grade by two letter grades. If you have a medical condition that requires you to miss class more than three times, you must discuss this with me ahead of time. A student with excessive absences (six or more missing days) will be administratively withdrawn from the course.

“A student who withdraws or is withdrawn for excessive absences after the

midpoint of the semester (date listed in Schedule of Classes) is assigned a grade

of WF, except in those cases which the student is doing satisfactory work and the

withdrawal is recommended by Students Affairs because of emergency or health

reasons."

2002 -2003 UGA Undergraduate Bulletin, Page 40


Students are expected to attend all studio classes and are responsible for all material covered during class meeting times. Studio Rules and Etiquette: During studio classes the following will not be permitted; use of tobacco in any form, playing radios or tape/CD players (including use with ear phones), Laptop Computers, and I-Pods. While working in the studios outside of class time, radios and tape/CD players may be used only with earphones. These are departmental policies and apply to all students in the landscape architecture program. Please observe common courtesy when working with others in the studio, particularly while other classes are being conducted. Due Dates, Deadlines and Presentations: Assignments must be submitted on the stated due date, time, and place. Any project turned in late, up to 24 hours, is automatically marked down a full letter grade. Any exception must have prior written approval from the SED Director no less than 24 hours before project is due. Special forms are available from Degree Program Specialist in Room 602 Caldwell Hall to request an extension. Work missed due to illness is required to be submitted no later than one week from the student’s return to class. The Ramsey Center Nurse Stamped illness excuses are not longer acceptable by UGA-SED. The acceptable medical illness excuse is a typed, letterhead, dated, with phone - address, Doctors’ letter, explaining that the student was unable to complete the project due to sickness. Projects/Assignments: All semester required projects/assignments must be submitted. Students who fail to submit any one of the projects will receive a non passing grade ( F ) at the end of the semester. Special Circumstances: Other situations will be dealt with on a case by case basis between the student and the instructor outside of class time, or through the Office of Student Affairs - Student Support (706/542-8220 or www.uga.edu/studentaffairs/students) located in 115 Holmes/Hunter Academic Building. Arrangements will be made in writing and signed by both parties. Please do not attempt to discuss late work or absences during studio. Dress Code: Please dress professionally. During final project presentations, students will be expected to wear professional dress. During studio; casual clothes suitable for work in an office will be expected. In others words, caps off and midriffs covered. Eight o’clock classes can place time constraints on preparing ones self for the day. So, please allow adequate time in your morning to negotiate campus traffic, park, ride the bus, etcetera, and arrive in class on time and prepared to have a great day. Students who wear baseball caps during class will be asked to take it off. Wearing a baseball cap or hat inside a building (indoors) is considered a sign of bad behavior and manners. Also is non-polite, non-professional attire, a sign of low self esteem or lack of hygiene, premature baldness, and is considered rude in any cultural setting around the world, so please don’t do it. If you have a medical condition (i.e. skin cancer) or for religious reasons which require you to wear a hat indoors, please contact your instructor at the end of the class period.


Cell Phone Use: Cell phone use during class is considered a public distraction. There will be ZERO tolerance of cell use in any fashion. All cell phones must be turned off during studio and placed out of sight in back packs, purse or lockers. If they disrupt the class by ringing, singing, jiggling or gyrating they will be confiscated and turned into the dean’s office. Work Completion: Students are required to keep all work completed during the semester until the end of the term in order to review progress and aid discussions if necessary. Make Up exams or projects will only be administrated for documented and unavoidable excused absences including hospitalization and family crisis. Please communicate your situation to your instructor via e-mail prior to missing an assignment or exam if possible. Sketchbooks: Keeping a sketchbook during the semester is highly recommended. Although students will still be expected to continue to use sketching to improve graphic skills and explore design ideas, sketchbooks will be used to begin a more critical record of the world that surrounds us and to develop process graphics. Equipment: Students will be expected to have available for use all equipment and materials purchased for Graphics I and II. Please inventory your equipment and supplies before classes begun and purchase anything missing or depleted. Documentation of Student’s Work: Students are encouraged to photograph or otherwise document all projects at the end of the semester for possible inclusion in their student portfolio. According to UGA-SED policy; students’ class work becomes intellectual property of the School. The University, the School, and the instructor reserved the right to keep your work without the student’s approval. Studio Work: All students are encouraged to work together in the studio, outside class time rather than at home. You will each benefit from the interaction with classmates and upperclassmen, if you take advantage of this opportunity. Typically, students who produce superior work fully participate in the studio environment. Studio Environment: Please do everything you are able to make our studio a pleasant, exciting place where fun inspires you without hindering other’s concentration! Daily Quiz: Can occur at any time, at instructor’s discretion. Disabilities: Students with special needs due to learning or physical disabilities should contact the Office of Student Affairs - Disability Resource Center (706/542-8719 or www.drc.uga.edu) located in 114 Clark Howell Hall. Academic Honesty: All students are responsible for maintaining the highest standards of honesty and integrity in every phase of their academic career. The penalties for academic dishonesty are severe; ignorance of what constitutes dishonesty is not an acceptable defense. Plagiarism in any form will not be tolerated.


NOTE: Calendar and syllabus are subject to changes. SED reserves the right to select and retain possession of digital copies of all written and graphic student work. All SED policies and procedures applicable to studio facilities and computer lab operation will be enforced. Please read and observe all these policies. Studio and labs are monitored by camera to insure your safety and compliance.


Student Name: _________________________________ Date: _______________

University of GeorgiaCollege of Environment & DesignSchool of Environmental Design

Land 2010 - Landscape Architecture Design Studio I Call #: 70 193Professor Jose R. Buitrago Fall 2008

FALL 2008 - GENERAL SCHEDULE Subject to revision at discretion of instructors

Week Monday Wednesday FridayAugust 18, 2008 August 20, 2008 August 22, 2008

1 Class Intro - Issue Project 1 Project 1 part 1 Lecture Project 1 part 1 Due1 2 Issue Project 1 part 2 3

August 25, 2008 August 27, 2008 August 29, 20082 Project 1 part 2 Due Project 1 part 3 Due Project 1 part 4 Due

Issue Project 1 part 3 4 Issue Project 1 part 4 5 Issue Project 1 part 5 6September 1, 2008 September 3, 2008 September 5, 2008

3 Labor Day - No Class Project 1 part 5 Due Project 1 part 6 DueIssue Project 1 part 6 7 Issue Project 1 part 7 8

September 8, 2008 September 10, 2008 September 12, 20084 Studio Work Project 1 part 7 Project 1 part 7 Due Lecture

9 Issue Project 2 10 11September 15, 2008 September 17, 2008 September 19, 2008

5 Lecture Lecture Studio work12 13 14

September 22, 2008 September 24, 2008 September 26, 20086 Studio work Studio work Studio work

15 16 17September 29, 2008 October 1, 2008 October 3, 2008

7 Due Project 2 Issue Project 3 Lecture18 19 20

October 6, 2008 October 8, 2008 October 10, 20088 Storyboard Due Studio work Mid Term Working Model Due

21 22 23October 13, 2008 October 15, 2008 October 17, 2008

9 Studio work Studio work Studio work24 25 26

October 20, 2008 October 22, 2008 October 24, 200810 Due Project 3 Issue Project 4 Artist/Painter assigned

27 28 29


Week Monday Wednesday FridayOctober 27, 2008 October 29, 2008 October 31, 2008

11 Studio work Studio work Fall Break - No ClassEmotional Response 30 31

November 3, 2008 November 5, 2008 November 7, 200812 Studio work Studio work Project 4 part 1 Due

32 33 34November 10, 2008 November 12, 2008 November 14, 2008

13 Field Trip Due Project 4 part 2 Issue Project 535 36 37

November 17, 2008 November 19, 2008 November 21, 200814 Studio work Studio work Studio work

38 39 40November 24, 2008 November 26, 2008 November 28, 2008

15 Thanksgiving Break Thanksgiving Break Thanksgiving BreakNo Class No Class No ClassDecember 1, 2008 December 3, 2008 December 5, 2008

16 Project 5 part 1 Due Studio work Studio work41 42 43

December 8, 2008 Tuesday, December 9, 200817 Studio work Due Project 5 part 2

44 *Last Day of Class - 45

*Note:The University shall operate a Friday class schedule on Tuesday, December 9, 2008. This is done to equalize the class minutes between MWF and Tu-Th classes and to provide an equal number of class meeting for courses which may meet only once per week.

2


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 1 – SHAPE UP - LINE IT UP – PART 1 of 7 Assign: Wednesday, August 20, 2008, at the beginning of class. Due: Friday, August 22, 2008, at the beginning of class. OBJECTIVE: To understand the following design principles of geometry and their symbolism:

• One, the Monad, expressed as the point. The monad also is expressed as the circle. It symbolized; expansion, wholeness, harmony, integration, unity, and heaven.

• Two points, the dyad, are joined together creating the line. The two points expands to become the line. The line gives direction; horizontal, vertical, and diagonal. It symbolized; replication, duality, separateness, opposition, movement, tension, polarity, energy, and action.

• Three points, the triad, are joined together to create the triangle form. It symbolized; resolution, balance, wisdom, harmony, peace, reconciliation, and trinity.

• Four points, the tetrad, are joined together to create the square form. It symbolized; the world, equality, firmness, reliability, and solidity.

• The Vesica Pisces, Latin for Vessel of the Fish, is formed when the circumference of two identical circles pass through the center of the other. Two circles can form from one. The center point connects to one of the infinite points on its circumference which then becomes the center point for a second circle. These two circles overlap and form in their intersection the vesica piscis, a portal, the passageway for the rest of creation.

GOAL: To emphasized the design principles of line, format, space, balance, tension, scale, variety, unity, and layout. To familiarize yourself with the geometry of basic shapes.


PROJECT REQUIREMENT Using the principles discussed in class and/or from the readings assignments you will create the following:

• Create 30 thumbnail sketches in your sketch journal (1-inch square formats). On each thumbnail sketch; draw 3 lines (monads), uniform in value, thickness, and within the limits of the square. Experiment also with the positive and negative space (black, white, or grey shading).

• From those 30 thumbnail sketches, choose the 5 best designs. Expand/scale up each one to a 5” square format. Be aware of line thickness, black and white shades, and maintain scale.

• Mount on a black sheet of construction paper (cut to 6” x 9”) each one of your 5 best thumbnail sketches (5” x 5” squares designs).

• All thumbnail sketches are in black and white format. Your 5 best thumbnail sketches must be mounted on a black sheet of construction paper. The other 30 thumbnail sketches must be kept in your sketch journal for future reference and will not be submitted as part of this exercise. The title block containing; your name, class, and project must be in pencil, with letters no bigger than ¼” tall, and place in a piece of white construction paper measuring 5” x 2”, and place as a label, on each one of your 5 best thumbnail sketches. Be ready to pin up your boards on the wall for a studio critique/review. EVALUATION CRITERIA This exercise, part 1 of project 1, will be counted as 10 points, and will be evaluated on the following categories:

• Exploration • Rendering • Layout • Crafting


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 1 – SHAPE UP (In a formal Way) – PART 2 of 7 Assign: Friday, August 22, 2008, at the end of class. Due: Monday, August 25, 2008, at the beginning of class. OBJECTIVE: To understand how to create pattern by using the repetition of a motif. GOAL: The basic goal of this study is to further understand the following design concepts:

• Symmetrical balance. • Repetition of a pattern. • Unity by repetition. • Variety through elaboration of size, position, rotation, reflection, sliding, and

value. • Pattern and motif. • Practice making patterns by manipulating a motif.

BACKGROUND: You have considered the geometries of the point (monads), the line, basic shapes (circle, square, rectangle, and triangle), and the Vesica Piscis. Now it is time to begin exploring their design possibilities. These design possibilities are often see in; formal gardens, crafts, architecture, and in the decorative arts as surface embellishments, or as integral structures. PROJECT REQUIREMENT Using the Vesica Piscis, create several “doodle” designs using a 2” diameter circle. You can either use a circle template or a compass to create the circles. For straight horizontal lines use the T-Square and for straight vertical lines use the 45 degree triangle. You should draw a series of overlapping circles, thus creating a Vesica Piscis grid pattern. This is the grid from which all the three basic forms were drawn.


1. Using the Vesica Piscis grid as a background; overlay a sheet of trace paper, and connects the circles intersecting points to create large triangles. Continue subdividing the large triangle into smaller triangles. Try different combinations and play with the values (B/W).

2. Create another design, but this time use only squares, and repeat the same exploration as you did with the triangle.

3. Repeat the same exploration, but now use only circles. 4. Repeat the same exploration but this time uses the three shapes. 5. Document all this explorations on your sketch journal. 6. Create a 1” x 1” viewfinder (frame/box) using trace paper. Use this tool to look

and isolate elements of the “doodle” designs that you created in your sketch journal. Create several 1” x 1” square designs by tracing over the elements contained within the viewfinder. Select your best (only one) viewfinder design. This 1” x 1” square will be your pattern motif.

7. Now, on a separate sheet of paper, create a grid of 8 columns by 10 rows. Each grid square must be 1” x 1” in size.

8. Make multiple copies of your motif by using the Xerox machine. Make enough copies of your motif pattern to fill the squares of your grid; since you are going to cut and paste these motif squares on your grid. Think of ways to save on photo copy fees by grouping them together before making copies. Explore different combinations by rotating, positioning, reflecting (reversing), and sliding the 1” x 1” motif on the grid.

Your grid pattern must be mounted on a board. The title block containing; your name, class, and project must be in pencil, with letters no bigger than ¼” tall, and place in the back of the board. Be ready to pin up your board on the wall for a studio critique/review. EVALUATION CRITERIA This exercise, part 2 of project 1, will be counted as 10 points, and will be evaluated on the following categories:

• Exploration • Craftsmanship • Aesthetic Pleasing Results • Professionalism


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 1 – SHAPE UP – PART 3 of 7 Assign: Monday, August 25, 2008, at the end of class Due: Wednesday, August 27, 2008, at the beginning of class. OBJECTIVE: To understand how to create a well organized and unified composition by using the design elements of; repetition, movement, rhythm, balance, unity, figure-ground relationship, and plural shapes. GOAL: The basic goal of this study is to further understand the following design concepts:

• Overlapping. • Joining. • Transparency. • Touching. • Adjacent positioning (propinquity).

PROJECT REQUIREMENT In the last few days you have become familiar with the basic geometric forms of the circle, square, and triangle. You have also explore the immense potential to create patterns with these forms by framing a detail (viewport) of the Vesica Piscis and turning it into a motif. Today we are going to explore the possibilities of creating plural forms by using the design concepts of overlapping, joining, transparency, and touching.

1. In your sketch journal, use the following exploration process for each of the three basic shapes.

2. Select two of the same shape (i.e. circle). 3. The size of these individual units should be the same and fit a 1” square. 4. Combine these simple shapes into a plural shape by overlapping, joining,

transparency, and touching. 5. Try several combinations and explore the possibilities. Use only two values

(B/W) except where transparency may produce a third (Grey). 6. Repeat the same process for each one of the remaining shapes (i.e. square and

triangle). 7. Select your best design for each one of the three shapes’ plural combinations.


8. Each one of the three shapes’ plural combinations (circle, square, and triangle) will become the motif for three new pattern designs.

9. Using each one of the three shapes plural combination, you will create a pattern by repeating the same motif 4 times only. For example; if you choose your circle motif, copy it 4 times, and arrange it into a pattern. This pattern motif must be contained within a 6” x 6” square frame. Try different arrangements such as linear, circular, radial, diagonal, and etcetera. Pay attention to the movement, rhythm, balance, unity, and relationships that the pattern combinations create. Do the same for your square and triangle motif.

10. Try several combinations of each plural combination on your sketch journal. Select the best pattern for each shape and then reverse the positive-negative spaces to create a figure ground reversal. Try different combinations, and select the best one of each shape plural combination as your final 3 pattern drawings to be mounted and submitted for grading.

Your three shapes plural combinations must be mounted on a board. The title block containing; your name, class, and project must be in pencil, with letters no bigger than ¼” tall, and place in the back of the board. Be ready to pin up your board on the wall for a studio critique/review. EVALUATION CRITERIA This exercise, part 3 of project 1, will be counted as 10 points, and will be evaluated on the following categories:

• Exploration • Craftsmanship • Aesthetic and Pleasing Results • Professionalism


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 1 – IT’S SHAPING UP – PART 4 of 7 “THE BUSINESS CARD” Assign: Wednesday, August 27, 2008, at the end of class. Due: Friday, August 29, 2008, at the beginning of class. OBJECTIVE: To continue exploring the design concepts of; communication, shapes, logo, vectors, fonts, copy, layout, balance, and scale. GOAL: To develop a logo and use it as a motif in your business card. PROJECT REQUIREMENT You have been exploring basic geometries along with basic design functions. The designs and techniques you have evolved can be used in many design situations including; planting plans, surface decoration, and graphic applications. Today we are going to implement this exploration into a graphic form such as a business card.

1. You are to consider the previous project elements and use part; or a combination of parts, to create a meaningful motif. Think of the meanings of the forms and shapes used to create your logo.

2. Your motif exploration must be in black, white, or grey values. No color or hatch patterns allowed.

3. Once you have a well-designed motif, we will call it a logo. 4. The logo is to been placed within a format having the same proportions as 3 times

the standard business card dimensions (6” x 10.5”) and include your name, phone number, and e-mail address. These personal items are to be printed in a carefully selected computer font to produce a business or trading card.

5. Because the business card is so small, it’s better to work on a large format first and later reduce to its actual size. So work in a 6” x 10.5” format, then…

6. Shrink the card down (1/3) to a standard business card size (2” x 3.5”). 7. Make copies to be turned in (mounted), and save the originals on your sketch

journal, along with your other projects for later presentation. Your 3 6” x 10.5” “business card” and actual business card must be mounted on a sheet of black construction paper (board). The composition must be in black, white, and grey


values. The title block containing; your name, class, and project must be in pencil, with letters no bigger than ¼” tall, and place in the board. Be ready to pin up your board on the wall for a studio critique/review. EVALUATION CRITERIA This exercise, part 4 of project 1, will be counted as 20 points, and will be evaluated on the following categories:

• Form and content of logo • Exploration of fonts and layout options. • Aesthetic pleasing results. • Craftsmanship and professionalism.


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 1 –TRANSFORMATION – PART 5 of 7 Assign: Friday, August 29, 2008, at the end of class. Due: Wednesday, September 3, 2008, at the beginning of class.

“When you get past making labels for things, it is possible to combine and transform elements into new things. Look at things until their import, identity, name, use, and description have dissolved.” Corita

OBJECTIVE: To continue exploring the design elements and principles of, composition, asymmetry, abstraction, non-objective, open/closed composition, value, overlapping, transparency, shape, space, unity, variety, balance, movement, emphasis, economy, and process. GOAL: To develop a 2D abstract design based on visual language of previous geometric explorations. MATERIALS: Black, white, and grey construction (or other heavy) paper, and suitable adhesive. PROJECT REQUIREMENT: In the last few weeks you have become familiar with the basic forms of the circle, square, triangle, and the Vesica Piscis. You even went further by researching and incorporating a meaning or symbol to each form and using it to create a business card that represented you. Today you will continue this exploration by incorporating 2d abstract design.

1. Make a visual inventory of all the basic geometries you’ve worked with so far: point, circle, line, triangle, square, and vesica piscis.

2. Choose only 3-4 of the above for each composition. 3. One your sketch journal makes at least 30 thumbnail compositions by arranging

the 3-4 items within a 1” square or rectangular format. 4. The compositions are to be abstract and asymmetrical. 5. Vary and manipulate scale, position, angles, degree of overlap, etc., of your

chosen items to vary the compositions. 6. Try both open and closed compositions. 7. Pay attention to the negative space created within the compositions, as it is as

important as the positive space.


8. Select your most promising design, refine it, and render it in black, white, and grey schemes. Do a minimum of three different Black, White, and Grey thumbnails for this design.

9. Scale your best design (one) to fit a format of approximately 12” square and construct it NEATLY from the construction paper.

Your best design must be mounted on a board. The composition must be in black, white, and grey values. The title block containing; your name, class, and project must be in pencil, with letters no bigger than ¼” tall, and place in the back of the board. Be ready to pin up your board on the wall for a studio critique/review. EVALUATION CRITERIA: This exercise, part 5 of project 1, will be counted as 10 points, and will be evaluated on the following categories:

• Following directions. • Craftsmanship. • Visual appeal.

VOCABULARY: Abstract - Having only intrinsic form with little or no attempt at pictorial representation or narrative content. Dimensional - As an aggregate of points in real or abstract space, the surface of a sphere has two dimensions. Also a parameter or coordinate variable assigned to such a property, the three dimensions of momentum, the number of elements in a basis of a vector space, the quality of spatial extension such as magnitude and size, a lifelike or realistic quality, and the range over which or the degree to which something extends. Two dimensional extend into two directions. Asymmetry – From the Greek “asymmetria” meaning lack of proportion, ill-proportioned, or not symmetrical. Abstraction - Having only intrinsic form with little or no attempt at pictorial representation or narrative content. Expressing a quality apart from an object. Difficult to understand. Disassociated from any specific instance. Nonobjective - Representing or intended to represent no natural or actual object, figure, or scene. Not objective. Open - Having no enclosing or confining barrier, accessible on all or nearly all sides, and being in a position or adjustment to permit passage (not shut or locked). Closed - To move so as to bar passage through something, to block against entry or passage, to deny access to, and to suspend or stop the operations. Composition - The act or process of arrangement into specific proportion or relation and especially into artistic form. A product of mixing or combining various elements.


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 1 –POSTER BOARD – PART 6 of 7 Assign: Wednesday, September 3, 2008, at the end of class. Due: Friday, September 5, 2008, at the beginning of class. OBJECTIVE: To learn the basic principles of layout and develop a Poster Board presentation of your work. GOAL: To create a coherent, concise, unified, clean, organized and professional grade Poster Board presentation that summarizes and documents your last 5 projects. MATERIALS: Black, white, and grey construction (or other heavy) paper, a 20” x 30” Foam Board (black, white, or grey), and suitable adhesive. PROJECT REQUIREMENT: In the last few weeks you have accumulated a series of drawings that documented your exploration of the basic forms of the circle, square, triangle, and the Vesica Piscis. Also, in your hand graphics course (Land 2210) you learned the proper lettering techniques. Today you are assigned the task of putting together your series of drawings (part 1 thru part 5 of Project 1) and lettering (text) in a cohesive presentation format.

1. Make an inventory of all the drawings submitted for Studio Review/Critique. 2. Lay all these drawings on your desk and try to put them together (arrange) in a

logical sequence that illustrates the design process. 3. Create a Label for each drawing and the part of project 1 that they illustrate. 4. Arrange your board only using the landscape or portrait view orientation. 5. On the front, include the title Shape Up (hand letter), at 1.5” tall maximum.

You will be graded on your overall ability to create an interesting, well thought out sequence, and on clarity, organization, and exciting graphic layout. Your last 5 parts of projects 1 must be best mounted on the 20” x 30” foam board. The composition must be in black, white, and grey values. The title block containing; your name, class, and project’s parts must be in black marker, with letters no bigger than 3/4” tall and placed on the front of the board. Be ready to pin up your board on the wall for a studio critique/review.


EVALUATION CRITERIA: This exercise, part 6 of project 1, will be counted as 20 points, and will be evaluated on the following categories:

• Following directions. • Craftsmanship. • Visual appeal. • Layout


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 1 – 3D MODEL - The Lamp - PART 7 of 7 Assigned: Friday, September 5, 2008, at the end of class. Due: Wednesday, September 10, 2008, at the beginning of class. OBJECTIVE: To learn the basic skills of model making and to further understand 3 dimensional designs. GOAL: To create a battery operated lamp (3 dimensional object projections) based on your abstract design from Project 1 – Transformation – Part 5. MATERIALS: Black, white, grey card stock paper, a battery operated light source (flash light), suitable adhesive, and foam board (black, white, or grey). The foam board is to be used as a base to mount the 3D model/lamp. Please check with your instructor for selecting any other material prior to constructing the model. PROJECT REQUIREMENT: Points define lines. Lines define shapes (planes). Planes define form. Form defines mass and volume. Forms can be created by additive, subtractive, manipulated, or casting methods. Forms can be grouped together by spatial propinquity, edge to edge contact, face to face contact, or interlocking. These forms can be projected 3 dimensionally into space. For today’s exercise you will be required to look at your previous designs, Project 1 – Transformation – Part 5, and project it as a 3 dimensional model with the added functionality of a desk lamp.

1. Consider and explore various materials and methods of constructing 3D forms based on the shapes used in Project 1 - Shape Up. Again, there are four processes to making 3D forms: additive, subtractive, casting, and manipulative. Be aware that aside from ground level, planes can be raised, overhead, sunken, or slanted.

2. Convert (extrude) your 2D abstract design, from Project 1 – Transformation - Part 5, into a free-standing sculptural form that addresses volume as well as mass.

3. Reduce this drawing to fit a 12” x 12” square. 4. Keep in mind that your 2D abstract design now is 12” x 12”, so your model

should project 3 dimensionally 12” in order to stay in a square (12” x 12” x 12” cube) base proportions.


5. Consider the use of a base to give your design visual stability. Be certain to treat the base as part of the total design (height).

6. Be aware of how the textures of the various materials you use add visual and tactile interest. Use only textures that are intrinsic to your materials of choice.

7. Take into account your model making skills so to allow sufficient time for drying time of the glue, neatly cutting of the forms, cleanliness, and professional grade craftsmanship of your model.

8. Your 3D model has to incorporate the functionality of a desk lamp. Use a battery operated light source of low wattage to avoid a fire hazard (flash light). The light function must be incorporated harmoniously in the 3D model and the hardware must be concealed from the view.

9. Be aware of the black, white, and grey values of your original 2D abstract design, and how they correlate in your 3D model.

The model-desk lamp must be in black, white, and grey values. The title block will contain; your name, class, and the project’s parts must be in black pen, with letters no bigger than 1/4” tall and placed on the base of the model. Be ready for a studio critique/review of your model. EVALUATION CRITERIA: This exercise, part 7 of project 1, will be counted as 20 points, and will be evaluated on the following categories:

• Following directions. • Craftsmanship. • Visual appeal. • Aesthetic, pleasing results.

SOURCES: A Basic Guide of Model Making by Martha Sutherland. Architecture: From, Space, and Order by Francis D.K. Ching. Chapter 2, 3, & 4. Model Graphics: Building & Using Study Models by Marguerite Koepke.

I love lamps!


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 2 – Color Theory Assign: Wednesday, September 10, 2008, at the end of class. Due: Monday, September 29, 2008, at the beginning of class. OBJECTIVE: To explore the use of color as a design element. Also, to understand how color can be used to manipulate visual perception. GOAL: To understand the design power of color as a communication tool through:

• Color theory • Color wheel • Color schemes • Tone and value • Neutrals • Color harmony • The symbolism and meaning of color • The emotion of color • The aspect of color

MATERIALS: A booklet of 9” x 12” Water color paper, Prang Professional Watercolor set with brush, cups, paper towel, non toxic desk cleaner, drafting tape, 60 lb. or better white paper, soft graphite pencil, rubber cement-glue, drawing tools, circle compass, Prisma Colored Pencils, a set of 5 ascending Chartpak or Prisma Color grey markers, and a display black foam board (20” x 30”). PROJECT REQUIREMENT: Part 1 – Color Theory Cut your 20” x 30” foam board into two equal pieces of 10” x 30.” Save one half of your foam board for the second part of this project. Draw with your pencil a perfect square measuring 4 ½” in the center of the 60 lb. sheet of paper. Make a total of six squares (six sheets). In each of the six squares, create the following:


• A 12 section color wheel only using the three primary colors. Use Prisma Color pencils or Water color for the rendering of the color wheel. If you choose to use water colors, then use water color paper.

• A five step value scale (gradient) using a solid graphite pencil. • A five step value scale (gradient) using stippling with a felt tip marker. • A five step value scale (gradient) using a cross hatching of your choice. • A five step value scale (gradient) using solid neutral (grey) markers. • A five step value scale (gradient) using solid neutral (brown) in any texturized

media of your choice. Using a straight edge and X-Acto knife, trim the excess of the paper, so your squares are perfectly 4 ½” x 4 ½” in size. Arrange the six squares on your 10” x 30” black foam board. For your poster layout, consider portrait, landscape, or even a 45 degree angled view. Add a label indicating media use under each one of the squares images. Since you are using black foam board consider using white a pencil to write the labels on the board itself. Also, add a label containing: your name, part of the project, class, date, and instructor’s name. All labels must be hand-typed with your best lettering. Part 2 – Color Harmonies Create a black and white image composition using only the theme of leaves and stars. This image must fit on a 4 ½” square. Make 6 equal copies of the image, on suitable paper to render, either with Prisma Color pencil or water color, in the following color schemes:

• Analogous Harmony • Direct Complementary • Split Complementary • Achromatic Scheme • Clash Scheme • Monochromatic

Arrange the six squares on your second 10” x 30” black foam board. For your second poster consider using the same layout arrangement of your first or explore a contrasting format that still makes the two parts read as one unit. Add a label indicating media use under each one of the squares images. Also, add a label containing: your name, part of the project, class, date, and instructor’s name. All labels must be hand-typed with your best lettering. EVALUATION CRITERIA: This project will be counted as 100 points, and will be evaluated on the following categories:

• Exploration and implementation of color theory • Craftsmanship and Rendering technique • Poster Graphics and Layout • Creative approach • Use of studio time and work ethics


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 3 – THE BOOK Assign: Monday, September 29, 2008, at the end of class. Initial Storyboard Due for critique: Monday, October 6, 2008, at the beginning of class. Working model & layout review: Friday, October 10, 2008, at the beginning of class. Final Due: Monday, October 20, 2008, at the beginning of class.

Once Upon a Shape…or a picture is worth a thousand words. “Things are pretty, graceful, rich, elegant, handsome, but until they speak to the imagination, not yet beautiful.” Emerson

OBJECTIVE: To explore the following design systems and concepts; creative problem solving, narrative, symbolism, shape, space, rhythm, movement, time, scale, emphasis, economy, unity, variety, balance, value, symbolic color, and crafting. GOAL: To understand how the manipulation of form affects content. MATERIALS: As needed per student’s choice of color scheme; 60lb. or better white support paper, black construction paper, neutrals or colored papers, book cover material, suitable adhesive, and cutting tools. PROJECT REQUIREMENT: Art is about expression. Design is about communication. Communication can be verbal, written, or visual. The spoken or written word is limited by the different vernacular idiom of the individuals engage in a communication, thus loosing something in translation. In contrast, visual communication can be universal among individuals who do not share a common tongue. For this project you will be required to tell a visual story using only the forms of the circle, square, and triangle.

1. Choose a fairy tale, fable, myth, historical event, or movie. After getting your instructor’s approval on your chosen story; analyze the story and found the 10 most important events. These events will become your story board and eventually each one will be a page/image in your book.


2. Analyze the emotional (subjective) response for each one of the 10 images of your story board and illustrate them using only the 3 basic shapes. Use cut paper to create the shapes. Any distortion of the shapes must be created by overlapping other shapes. For example, two square side by side crate a rectangular shape.

3. Consider reaction to distortion of these shapes, emotional impact of placement of those shapes within a format, the impact of a horizon line, and the symbolic effect of color.

4. Keep your color scheme and use color accents to create emphasis on your story board. Consider the overall emotional and symbolic use of colors and values.

5. In addition to the ten pages/images; on the center of the front cover of your book, create the title of your story using only the 3 shapes. On the inside of the back cover of your book, create a title block containing; your name, class, your class instructor’s name, Project 1 – The Book, the title of your story, and original author of the story, in hand typed letters no bigger than ¼” tall in black ink.

Your final composition must be at least 10 pages/images, bind together in a book format. Format size of each image/page is to be no smaller than eight inches on its longest side. Book cover size will be slightly larger. EVALUATION CRITERIA: This project will be counted as 100 points (20% of your semester grade) and will be evaluated on the following categories:

• Exploration of concepts. • Use of studio time and work ethics. • Crafting. • Aesthetic quality.

LIBRARY RESEARCH TOPICS: Manipulating geometries, problem solving techniques, color theory (psychological and symbolically), and narrative in the landscape.


Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 4 – DESIGN ANALYSIS & SYNTHESIS Assign: Monday, October 20, 2008, at the end of class. Poster Due: Friday, November 7, 2008, at the beginning of class. Field Trip: TBD Paper Due: Wednesday, November 12, 2008, at the end of class. OBJECTIVE: This project will give you the opportunity to apply your knowledge of design elements and principles by analyzing a work of art by a famous painter. It will also create an awareness of the importance of context in design. Here, context refers to the background and influences of the artist: his/her culture, personal life, time period, and the aesthetic trends of that place and time. GOAL: This project’s goal is for you to come to a deep understanding of one work of art, then to apply that understanding to new works of art created by you in a synthesis (creative adaptation) of your findings about the artist/painting with your own background and ideas. The stages of this process will be:

• To analyze the composition of the painting and present your analyses on a poster board

• To write a research paper about the artist and the painting • To create and deliver a formal presentation of all.

The products you produce will require these design essentials: research, creativity, good composition, good craftsmanship, and good salesmanship. PROJECT REQUIREMENT: Part 1: The graphic analysis poster Choose one artist from the provided list of ‘famous painters.’ After careful examination of the work body of art of the artist of your choice, select your favorite painting. Make a color photo copy of the painting and enlarge/reduce to fit a maximum of 8.5” by 11”


paper. Next; using your color reproduction as a base, tape tracing paper over the reproduction, and with marker or a dark pencil, diagram the painting’s structure. Use the ‘Graphic Analysis Considerations’ list in this handout as a guide. Not all items on the list will be applicable to every painting. Conversely, you may discover other design elements or principles not included on the list. By working through a series of diagrams, you will produce a graphic analysis of the painting. Each diagram will be the same scale as the painting reproduction and will then be arranged on a single poster board. Consider transferring your initial attempts on trash paper to a higher quality material. You may use color in your diagrams if appropriate. The poster must include:

• The color reproduction of the painting. • Name of artist, name of painting, year(s) painting was composed. • 8 different analysis diagrams (each 8.5” x 11” max.), each diagram with a title

(e.g., “Rhythm”). • Brief explanation under each analysis of how the artist used the principle or

element diagrammed to manipulate composition and evoke meaning. • Your name, LAND 2010, instructor. • Proper bibliographic entries for photocopies of copyrighted materials (pictures).

Formal Presentation of graphic analysis poster and one page summary You will make a formal verbal presentation of your graphic analysis poster to the class and potential guest juror. This must be skillfully composed to include (at a minimum) information about the artist and his/her context, what was revealed in your analyses of the painting. In addition, you must type a one page abstract-summary of your findings with a B&W copy of the painting (back side of paper), proper citation, quotation, and bibliography entries as need it. Make sure to make enough copies of your one page summary (front side of paper) to share with every single member of the class. Please include your name, class and project information, and date. Type your summary and use single spacing, 12 pt. text, and easy-to-read font. Please proofread your one page summary. Presentations will be no longer than 10 minutes a piece. This means you must take great care in organizing your thoughts so that you don’t exceed the time limit. Time yourself as you practice. Part 2: Research Paper Research the artist and the painting to compose a well-written 3-5 page paper (word processed, 1.5 spacing, 12pt. text, and easy-to-read font). The paper should be mostly about the artist and his/her context, but at least 1-2 paragraphs should be devoted to the painting you are studying. At a minimum, you should address these things:

• What ‘movement’ was the artist identified with?


• What characterizes this ‘movement’? • What issues preceded this ‘movement’ and influenced its development? • How did the artist and/or ‘movement’ influence later artists and/or ‘movements’? • Personal history of the artist. • The artist’s design process, if information exists. • The original size and materials of the painting. • Describe characteristics of the ‘movement’ that are present in the painting. • Art historians’ theories about the painting.

Please proofread your paper. A paper is a designed, composed product – careless grammar, bad spelling, and poor organization are unacceptable. Word processing programs have spell check and grammar check functions, and you should use them. Proper documentation of sources is required and academic honesty standards are enforced. SCHEDULE: Monday, October 20, 2008: Project Introduction. Wednesday, October 22, 2008: Artist/painting is assigned, get a color Xerox or printout of painting, collect research materials, tracing paper. Graphic analysis and paper are assigned. Emotions response exercise. Friday, October 24, 2008: Work on graphic analyses in class. You must have your color reproduction and some tracing paper. Monday, October 27, 2008: Continue working on the graphic analysis poster IN STUDIO time. Emotional Response Exercise. Wednesday, October 29, 2008: Continue working on the graphic analysis poster IN STUDIO time Friday, October 31, 2008, Fall Break – No Class Monday, November 3, 2008: Continue working on the graphic analysis poster IN STUDIO time. Wednesday, November 5, 2008: Continue working on the graphic analysis poster IN STUDIO time. Friday, November 7, 2008: Graphic analysis poster and one page summary is due at beginning of class. Be ready for a Pin Up Presentation. Monday, November 10, 2008: Field trip to be determine. Wednesday, November 12, 2008: Paper is due at the end of class.


GRAPHIC ANALYSIS CONSIDERATIONS: Composition Look at the way the space within the painting is organized, how the painter makes the most of the pictorial surface, and how the parts combine to make the whole. Consider:

• Balance • Proportional relationships • Large-scale elements • Dominant rhythms • Dominant forms

Color Examine the artist’s application of color theory. Consider:

• Color harmony • Spatial implications of color • Symbolic or descriptive use of color

Light Examine the light sources and/or the results of illumination within the painting. Consider:

• Visibility of light source • Areas of light and shadow • Flatness or depth created by light/shadow • Direction of light • Variations in light quality or intensity

Perspective Study how the artist depicts the space within the painting so as to give the impression of three-dimensional distance and depth. Consider:

• Vanishing points • Horizon line • Distortion • Spatial enclosure or openness • Viewer’s point of view

Depth Are there additional clues that convey depth or flatness? Consider:

• Overlapping planes • Use of color and light to recede or move closer • Division of foreground, middle ground, and background • Variations in size or level of detail

Movement Examine the directions of movement within the painting. Consider:

• Implied movement


• Expression of gradual movement • Directions of patterns or textures • Expression of the passage of time

Emphasis Examine how emphasis is achieved and the level of emphasis given to different objects in the painting. Consider:

• Placement of objects • Framing • Color/light contrasts/intensities • Primary emphasis (the main actor) and secondary emphasis (supporting cast) • Emphasis created by movement

Emotional Response Ask yourself the following question; how the painting make you feel? Summarize your emotional response to the painting using only “one word.” EVALUATION CRITERIA: This project will be counted as 100 points and will be evaluated on the following categories:

• Quality workmanship • Thorough research • Insightful analysis • Creative approach • Following instructions • Professional presentation


FAMOUS PAINTERS: Thomas Hart Benton Duccio Di Buoninsegna Sandro Botticelli Michelangelo Buonarroti Marie-Rosalie (Rosa) Bonheur Giovanni Bellini Huang Binhong Albert Bierstadt Antonio Canaletto Annibale Carracci Gustave Caillebotte Paul Cezanne Jose Clemente Orozco Pietro Da Cortona John Constable Thomas Cole Gustave Courbet Frederic Edwin Church Jacques-Louis David Salvador Dali Eugene Delacroix Edgar Degas Andre Derain Albrecht Dürer Jean-Honore Fragonard Paul Gauguin Francisco Goya Hugo Van Der Goes Vincent Van Gogh Tommaso Guidi (Masaccio) Huang Gongwang Winslow Homer Herman Hennequin Angelica Kauffmann Frida Kahlo Fan Kuan Lord Frederic Leighton Roy Lichtenstein Claude Lorrain Pietro Lorenzetti Andrea Mantegna Edouard Manet Henri Matisse Jean-Francois Millet

Joan Miro Claude Monet Kano Motonobu Edward Munch Francisco Oller Georgia O’Keeffee Pablo Picasso Nicolas Poussin Jackson Pollock Dong Qichang Pierre-Auguste Renoir Peter Paul Rubens Jacopo Robusti (Tintoretto) Jose De Ribera Diego Rivera Rembrandt Van Rijn Henri Rousseau George Seurat Raffaello Sanzio (Raphael) Domenikos Theotokopoulos (El Greco) Yokoyama Taikan Paolo Uccello Pietro Vannucci (Perugino) Diego Velazquez Antoine Watteau Andy Warhol Konrad Witz Grant Wood Pieter Bruegel The Elder Edward Hopper Katsushika Hokusai Vassily Kandinsky Michelangelo Merisi (Caravaggio)

34 | P r o j e c t 5

Student Name: ____________________________________ Date: _________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Assistant Professor Jose R. Buitrago Call Number 70 193 LAND 2010 - Landscape Architecture Design Studio I PROJECT 5 – SHAPING THREE-DIMENSIONAL SPACE Assign: Friday, November 14, 2008, at the beginning of class. Part 1 Due: Monday, December 1, 2008, at the beginning of class. Part 2 Due: Wednesday, December 9, 2008, at the beginning of class. OBJECTIVE: This project will give you the opportunity to apply and incorporate, in a 3 dimensional format, the design elements and principles that you acquired by analyzing a work of art by a famous painter. GOAL: The basic goals of this project are to:

• Explore 3D design as a means to shape space. The focus is not on the value of a 3D thing, but of a 3D space. That means that the enclosed space, not the enclosure, is the focus of your design.

• Manipulate experience • Use transition to enhance experience. • Take yourself through several levels of planning and refinement in the design

process. • Understanding the Design Concept

BACKGROUND: Space, in order to be useful in the human environment, is usually broken up into rooms. Some of these are public spaces; some are private in order to accommodate various functions and relationships. We think of space this way most often in buildings, but the same way of thinking can be applied to outdoor rooms. When you began this project you were presented with a painting and asked to write your initial emotional response to that work of art before and after researching it. Find that original emotional response word and use it as the design concept for your 3 dimensional explorations. You also completed a poster analysis of the painting that now could be thought of as “design principles” to create a series of forms, planes, and voids that define space. The

35 | P r o j e c t 5

manipulation of scale, how you define planes and manipulate forms as canopy (overhead plane), raised plane, grade (ground plane), below grade (lowered plane), or sloping (diagonal plane), will affect the emotional impact of the space you are making. The challenge is to recreate the emotional impact of the original painting in this abstracted 3D re-interpretation. You are to create 3 separated and interconnected rooms based on your initial emotional response to the painting and your painting analysis to guide to develop a plan. PROJECT REQUIREMENT: Part One – Plan and Section Drawings Poster Design three different spaces to be used by an adult. These spaces will be designed base on your emotional response to the painting (your design concept). Consider creating unique and specific experiences (of a person within the space) and how the transitions between spaces will enhance or emphasize the experiences. Each space conveys and reinforces your design concept (emotion). Think of each space as the story behind the painting and how it ends (climax = emotional response). Each space should represent the stages to reach that final climatic emotional response (landscape narrative). Each space or room is 25’ x 25’ square plan. Use 6’ as the adult height to design for. Create 3 plans views of each room at ¼” = 1’ – 00” scale. Also, create 3 Section/Elevation drawings for each room at ¼” = 1’ – 00” scale. Use height on your sections to enhance and reinforce your design concept. The plan and sections drawings should reflect the materials that best reinforce your design concept; i.e., hardscape (wood, concrete, tile, glass, etc.) or softscape (water, plants, soil, ground, etc.). These drawings should be combined on a poster format (24” x 36”) and should include the following:

• Title block with your name, class, professor, date, and title of this project. • Your emotional response word, painting and painters name. • General labels, scale of drawings, people at elevation-plan views for scale. • Section Lines on plan view and north arrow (plan).

Color has tremendous impact. Retain or delete colors as determined by the emotional requirements of a space. Part one is due Monday, December 1, 2008, at the beginning of the class, with a brief/short presentation to the class. Part Two – Model Making

Using the base plan and section-elevation drawings, create 3 models at ¼” = 1’ – 00” scale. Construction materials for finished model should be of quality material and your crafting, the highest level. Color can be use but must convey the mood of the space formed. Use materials and add texture as possible. Each model is to be built separately,

36 | P r o j e c t 5

so consider the inter-changing placement of each room in the linear sequence of the landscape narrative of your design (emotional response). You will make a formal verbal presentation of your models. This must be skillfully composed to include (at a minimum) information about the artist and his/her context, what was revealed in your analyses of the painting, and why/how your emotional response is a valid design concept for your space. Have your part one poster in view of the audience and refer to it as necessary. Presentations will be no longer than 10 minutes a piece. This means you must take great care in organizing your thoughts so that you don’t exceed the time limit. Time yourself as you practice. Part Two is due Wednesday, December 9, 2008, at the beginning of the class. SCHEDULE: Friday, November 14, 2008: Project introduction and design charrette (bubble diagram). Monday, November 17, 2008: Refine your bubble diagram. Wednesday, November 19, 2008: Work in plan and elevations IN STUDIO time. Friday, November 21, 2008: Work in plan and elevations IN STUDIO time. Week of November 24 – 28, 2008: Thanksgiving Break – No Class Monday, December 1, 2008: Part 1-Plan and Elevation is due. Be ready for a pin-up presentation. Wednesday, December 3, 2008: Commence working on the models using the feedback from presentation and the plan-elevation drawings as a reference IN STUDIO time. Friday, December 5, 2008: Continue working on the model IN STUDIO time. Monday, December 8, 2008: Continue working on the model IN STUDIO time. Tuesday, December 9, 2008: Part 2-Model is due. Be ready for a pin-up presentation. Note: Tuesday, December 9, 2008, The University shall operate a Friday class schedule. READING ASSIGMENTS: Francis Ching in your text book, Architecture, Form, Space, and Order, discusses forms of organization; linear, radial, clustered, and grid in chapter 1, pp 57 through 77, spatial relationships in chapter 4 and path configuration in chapter 5. Also read chapter 6.

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EVALUATION CRITERIA: This final project will be counted as 100 points and will be evaluated on the following categories:

• Quality workmanship • Thorough research • Insightful analysis • Creative approach • Following instructions • Professional presentation

This Project is so easy!

1 | L a n d s c a p e A r c h i t e c t u r e D e s i g n S t u d i o I I - S p r i n g

Student Name: ____________________________________________ Date: _____________ University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer, Martin, & Zeichner LAND 2020 - Landscape Architecture Design Studio II Assistant Professor: José R. Buitrago Morning Section: Monday & Friday 8:00 – 11:00 AM Wednesday 8:00 – 9:55 AM Where: 4th Floor Studio - Caldwell Hall Office: 407 Caldwell Hall Office Hours: Open Door policy or by appointment. Phone: (706) 583-0942 E-Mail: [email protected] PREREQUISITES: Land 2010 – Landscape Architecture Design Studio I COURSE DESCRIPTION: A continuation of Landscape Architecture Design Studio I. The integration of the range of design determinants in landscape architecture. Further exploration of the design process. A 4 hours lecture, 8 hours lab per week COURSE OBJECTIVES: Knowledge: Upon completion of this course, students with a passing grade will have demonstrated the following:

• An understanding of the basic elements, principles, and processes of two and three-dimensional design.

• Creative thinking and learning styles. • Facility in using process graphics (drawing and modeling) to explore design ideas. • How to generate and communicate design ideas with clarity and effectiveness through

graphic, verbal and written communication. • A broader and deeper knowledge of the discipline of landscape architecture.

Skills: Upon completion of this course, students with a passing grade will have demonstrated the following:

• An understanding of professional/artistic expectations as applied to graphic techniques, standards, and conventions in a variety of mediums.

• Comprehend the importance of concept/meaning in design. • Facility in critical thinking through application of the design process.


• The ability to analyze and critique design. • Proficiency in expressing ideas verbally, graphically and in writing.

Values: Upon completion of this course, students with a passing grade will have demonstrated the following:

• Knowing the importance of creative problem solving in landscape architectural design. • The importance of incorporating history and culture as an integral component of the

design process. • An understanding of the importance of a congenial, considerate and inspirational studio

environment. METHODS: This class follows the protocols of a studio format with lectures, demonstrations and field trips supporting information supplied through readings and textbooks. Impromptu campus walks, pin-up sessions and class discussions will be integral to the studio experience. Take home quizzes, exams and essays may be included to emphasize the important concepts to be gained from readings and research. Students will have portions of some studios allotted for in-class individual (or group) work time, but students are expected to continue individual work outside of class as well. Studio meets 8 contact hours per week and each student should plan to spend approximately 8-10 hours outside class each week working on projects. An important part of evaluation in a design studio is the critique. A critique by definition is, “the art of evaluating or analyzing works of art or literature” (Webster’s Ninth New Collegiate Dictionary). This process of review and evaluation is intended to advance the quality of students’ work. It is only successful when students maintain objectivity towards their work and a positive and productive outlook. REQUIRED TEXTBOOKS:

• Ching, Francis D.K. Architecture: Form, Space & Order. New York: Van Nostrand Reinhold, 1996. ISBN 0471286168

• Dee, Catherine. Form and Fabric in Landscape Architecture: A Visual Introduction. New York: Spon Press, 2001. ISBN 0415246385

• Rothschild, David De. The Live Earth Global Warming Survival Handbook. New York: Rodale, 2007. ISBN 159486781X

REQUIRED CLASS MATERIAL:

• Basic drafting materials/tools as required for your Land 2210- Landscape Architecture Graphics class.

• A box of metal T-Pins. • 11” x 14” High Grade Sketch Journal (See Sketch Journal Section on this Syllabus). • Additional material will be required on a project-by-project basis.


SKETCH JOURNAL: The sketch journal will be a working journal that reflects the student’s involvement with the design process. It is to be organized using suitable papers (lined, unlined), dividers, envelopes, etcetera. It is to contain: syllabus, handouts, notes from class, assignments, first ideas and second thoughts, articles and images from magazines and newspapers, quotes, night thoughts and dreams, drawings and verbal images from surroundings, practice lettering, research, annotated bibliographies, and etcetera. Always have paper and pencil with you (or carry inside your journal), and always bring your journal to class. SUPPLEMENTAL READINGS & REFERENCES: Supplemental readings will be assigned on a project by project basis and be placed on reserve in the reading room. Since it is a copyright infringement for instructors to photocopy written materials for students, all readings will be placed on reserve so that can you can either read them in the resource center or photocopy them for yourself. Photocopying for personal use is completely legal. Other class material will be made available electronically via the SED Server. GRADING SYSTEM: Grading is based on the University System Percentage as follows: A = 100%-95% Excellent: Work reflecting superior design and graphic ability A- = 94.9%-90% logically thought out and presented. Changes or revisions would be minimal. B+ = 87%-89.9% Good: Work representing a good understanding of the theory and B = 83%-86.9% concepts involved in the project but should be slightly reworked. B- = 80%-82.9% C+ = 77%-79.9% Fair: Work which indicates a satisfactory understanding and C = 73%-76.9% execution of the project. Moderate revisions would be necessary. C- = 70%-72.9% D = 60%-69.9% Poor: Work which in incomplete and in the design process and project solutions are poor or inconsistent. Work shows lack of comprehension of subject matter and would require extensive revisions. F = 59.9% Unacceptable Students who fall behind in class work are STRONGLY encouraged to withdraw from the class. A grade of incomplete will only be given in extenuating circumstances.


GRADING: Grading will be based on performance in the following projects/assignments:

• Project 1 - 100 Trees 100 Points • Project 2 - Choreography of Space 100 Points • Project 3 – Landscape Architecture Heroes 100 Points • Project 4 - The Tunnel 100 points • Project 5 – Site Project 100 Points • Project 6 – Final Exam 100 Points ___________________________________________________________________ Total 600 Points

Each student will receive a problem statement outlining the requirements and details for each of the above assignments. Projects have been designed to present a realistic professional challenge. The final exam will take place during final exams week and will covered material discuss in class, book readings, class lectures, and guest speakers lectures. CLASS STANDARDS: Attendance: Is mandatory and a record will be kept each class meeting. At the beginning or end of each class period, it is the student’s responsibility to sign the attendance sheet to receive full credit. Failure to sign in will count as an unexcused absence. In addition, habitual tardiness (arriving 15 minutes after class commence) will lower your grade at instructor’s discretion. Each student has three “sick” days during the entire semester. These days are intended to be used when you cannot attend class because of illness. I do not require a medical excuse; instead you are allotted three days to get yourself better. The fourth absence (regardless of reason) will reduce your final grade by one letter grade. The fifth absence will reduce your final grade by two letter grades. If you have a medical condition that requires you to miss class more that three times, you must discuss this with me ahead of time. A student with excessive absences (six or more missing days) will be administratively withdrawn from the course.

“A student who withdraws or is withdrawn for excessive absences after the midpoint of

the semester (date listed in Schedule of Classes) is assigned a grade of WF, except in

those cases which the student is doing satisfactory work and the withdrawal is

recommended by Students Affairs because of emergency or health reasons.” 2002 -

2003 UGA Undergraduate Bulletin, Page 40

Students are expected to attend all studio classes and are responsible for all material covered during class meeting times. Studio Rules and Etiquette: During studio classes the following will not be permitted; use of tobacco in any form, playing radios or tape/CD players (including use with ear phones), Laptop


Computers, and I-Pods. While working in the studios outside of class time, radios and tape/CD players may be used only with earphones. These are departmental policies and apply to all students in the landscape architecture program. Please observe common courtesy when working with others in the studio, particularly while other classes are being conducted. Due Dates, Deadlines and Presentations: Assignments must be submitted on the stated due date, time, and place. Any project turned in late, up to 24 hours, is automatically marked down a full letter grade. Any exception must have prior written approval from the SED Director no less than 24 hours before project is due. Special forms are available from Degree Program Specialist in Room 602 Caldwell Hall to request an extension. Work missed due to severe (hospitalization) illness is required to be submitted no later than one week from the student’s return to class. The Ramsey Center Nurse Stamped illness excuses are not longer acceptable by UGA-SED. The acceptable medical illness excuse is a typed, letterhead, dated, with phone - address, Doctors’ letter, explaining that the student was unable to complete the project due to sickness. Special Circumstances: Other situations will be dealt with on a case by case basis between the student and the instructor outside of class time, or through the Office of Student Affairs - Student Support (706/542-8220 or www.uga.edu/studentaffairs/students) located in 115 Holmes/Hunter Academic Building. Arrangements will be made in writing and signed by both parties. Please do not attempt to discuss late work or absences during studio. Dress Code: Please dress professionally. During final projects presentations, students will be expected to wear professional dress. During studio; casual cloths suitable for work in an office will be expected. In others words, caps off and mid-drifts covered. Eight o’clock classes can place time constraints on preparing ones self for the day. So, please allow adequate time in your morning to negotiate campus traffic, park, ride the bus, etcetera, and arrive in class on time and prepared to have a great day. Cell Phone Use: Cell phone use during class is considered a public distraction. There will be ZERO tolerance of cell use in any fashion. All cell phones must be turned off during studio and placed out of sight in back packs, purse or lockers. If they disrupt the class by ringing, singing, jiggling or gyrating they will be confiscated and turned into the dean’s office. Work Completion: Students are required to keep all work completed during the semester until the end of the term in order to review progress and aid discussions if necessary. Make Up exams or projects will only be administrated for documented and unavoidable excused absences including hospitalization and family crisis. Please communicate your situation to your instructor via e-mail prior to missing an assignment or exam if possible. Sketchbooks: Keeping a sketchbook during the semester is highly recommended. Although students will still be expected to continue to use sketching to improve graphic skills and explore design ideas, sketchbooks will be used to begin a more critical record of the world that surrounds us and to develop process graphics.


Equipment: Students will be expected to have available for use all equipment and materials purchased for Graphics I and II. Please inventory your equipment and supplies before classes begun and purchase anything missing or depleted. Documentation of Student’s Work: Students are encouraged to photograph or otherwise document all projects at the end of the semester for possible inclusion in their student portfolio. According to UGA-SED policy; students’ class work becomes intellectual property of the School. The University, the School, and the instructor reserved the right to keep your work without the student’s approval. Studio Work: All students are encouraged to work together in the studio, outside class time rather than at home. You will each benefit from the interaction with classmates and upperclassmen, if you take advantage of this opportunity. Typically, students who produce superior work fully participate in the studio environment. Studio Environment: Please do everything you are able to make our studio a pleasant, exciting place where fun inspires you without hindering other’s concentration! Daily Quiz: Can occur at any time, at instructor’s discretion. Disabilities: Students with special needs due to learning or physical disabilities should contact the Office of Student Affairs - Disability Resource Center (706/542-8719 or www.drc.uga.edu) located in 114 Clark Howell Hall. Academic Honesty: All students are responsible for maintaining the highest standards of honesty and integrity in every phase of their academic career. The penalties for academic dishonesty are severe; ignorance of what constitutes dishonesty is not an acceptable defense. NOTE: Calendar and syllabus are subject to changes. SED reserves the right to select and retain possession of digital copies of all written and graphic student work. All SED policies and procedures applicable to studio facilities and computer lab operation will be enforced. Please read and observe all these policies. Studio and labs are monitored by camera to insure your safety and compliance.


University of GeorgiaCollege of Environment & DesignSchool of Environmental Design

Land 2020 - Landscape Architecture Design Studio IIInstructors: Buitrago, Cramer, Martin, & Zeichner

SPRING 2008 - GENERAL SCHEDULE Subject to revision at discretion of instructors

Week Monday Wednesday FridayJanuary 7, 2008 January 9, 2008 January 11, 2008

1 Syllabus - Issue Project 1 Studio Work Day Studio Work Day1 2 3January 14, 2008 January 16, 2008 January 18, 2008

2 Due Project 1 - Phase 1 Studio Work Day Due Project 1 - Phase 24 5 6January 21, 2008 January 23, 2008 January 25, 2008

3 Holiday M.L.K. - No Class Studio Work Day Due Project 1 - Phase 37 8 9January 28, 2008 January 30, 2008 February 1, 2008

4 Studio Work Day Studio Work Day Due Project 1 - Phase 410 11 12February 4, 2008 February 6, 2008 February 8, 2008

5 Issue Project 213 14 15Ferbuary 11, 2008 February 13, 2008 February 15, 2008

616 17 18February 18, 2008 Ferbruary 20, 2008 February 22, 2008

7 Due Project 219 20 21Ferbuary 25, 2008 February 27, 2008 February 29, 2007

8 Mid-Term / Issue Project 322 23 24March 3, 2008 March 5, 2008 March 7, 2008

925 26 27March 10, 2008 March 12, 2008 March 14, 2008

10 Spring Break-No Class Spring Break-No Class Spring Break-No Class

March 17, 2008 March 19, 2008 March 21, 200811 Due Project 3

28 29 308 | L a n d s c a p e A r c h i t e c t u r e D e s i g n S t u d i o I I - S p r i n g

Week Monday Wednesday FridayMarch 24, 2008 March 26, 2008 March 28, 2008

12 Issue Project 431 32 33March 31, 2008 April 2, 2008 April 4, 2008

1334 35 36April 7, 2008 April 9, 2008 April 11, 2008

14 Due Project 437 38 39April 14, 2008 April 16, 2008 April 18, 2008

15 Issue Project 540 41 42April 21, 2008 April 23, 2008 April 25, 2008

1643 44 45April 28, 2008 April 30, 2008

17 Last day of Classes/Due Project 5 Final Exam to be Announce46


Student Name: ____________________________________ Date: ________________ University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer, Martin, & Zeichner LAND 2020 - Landscape Architecture Design Studio II PROJECT 1 - ONE HUNDRED TREES – PHASE ONE Issued: Monday, January 7, 2008 Due: Monday, January 14, 2008 at the beginning of class. INTRODUCTION: In order to fully understand the elements in the design of outdoor space, it is sometimes helpful to isolate and control individual components. Much like a natural science experiment, the full impact of an individual element can only be realized if the other factors are kept constant as a “control”. This project uses this approach to explore the manipulation of the major landscape elements- vegetation, groundcover and topography. These landscape elements even used alone can begin to create, define and articulate space and evoke mood, emotion and experience. As the elements are combined appropriately, spatial articulation and landscape character are strengthened and deepened. Your design decisions will be guided by what is called a "design concept." Design concepts are mental ideas or constructs that are used in the art and design fields to generate ideas and structure consistent decisions. They give inspiration to the design – they also help to unify the project. More than one construct can be layered or joined to create new meanings. The use of the design concept is limited only by your creativity, inspiration, and willingness to explore beyond the obvious. Concepts can be very simple – a single word, simile, or metaphor – or very deep and complex – for instance, using the Fibonacci series of numbers to create pattern, form and space. Design concepts can be abstracted from the unique sense of place where the landscape is located or from the abstraction of cultural traces on the land. Concepts could also be abstracted from a poem, a story or a verse from sacred text. Concepts can be generated by an historic event, or from an historic precedent that is worthy of emulation or, at least, a nod of recognition. Whatever the design concept is, you will have to undertake an intellectual exploration of the concept in order to successfully use it as a driving force of your design. PHASE ONE PROJECT REQUIREMENT: A flat, perfectly square, one acre site has been covered in fine gravel. You are to create a landscape experience through your selection and placement of one (1) to one hundred (100) tree of any single species of your choice. The purpose of the tree landscape is to create a visual and spatial experience that evokes your design concept. Make yourself small, and place yourself into the landscape…..use your imagination to feel the presence of the plants and the space and mood they create.


Randomly select one of the following words as your theme or concept for your tree landscape. A signed up sheet will be provided so each student will have a different word – design concept. DIRECTION EXPANSION ASCENSION DIVISION PROGRESSION CONTEMPLATION PROTECTION ISOLATION INSPIRATION EXHILARATION UNIFICATION REPETITION REVELATION SECLUSION ENCAPSULATION TRANSITION MYSTERY TRANSPARENCY CONCENTRATION COHESION VARIATION HARMONY COMPENSATION SEQUENCE DYNAMISM CONNECTION INTEGRATION FLUIDITY Tree Species Sketches: Select the most appropriate tree species for your design. Sketch a variety of views of the tree type, including a profile showing the overall tree form and a close-up of the branching pattern. You may choose either a deciduous or evergreen tree. Do these in your sketchbook. Practice, practice, practice until you feel comfortable that you can communicate the essence of the tree. Study Model: Begin by exploring design possibilities in rough model format at a scale of 1”=20’. Use recycled cardboard for the ground plane (such as from shoe boxes or empty cereal boxes). Make your trees of stiff paper, limiting the colors to neutrals, such as whites, browns and grays. The trees should be 5/8 to ¾ of the mature size of the species you have chosen. Show people, to scale, in the model. Your study model should be able to be manipulated easily, so that you can look at several different variations in a short period of time. It must be sturdy enough to last and accompany your final presentation. Concept Statement: Prepare a brief concept statement of your interpretation of the word theme and how your design will reinforce it. PHASE ONE EVALUATION CRITERIA: Check plus, check or check minus will be issued at this time for your project performance up to this point. All phases (One, Two, Three and Four) will be evaluated at the completion of the final drawings. How you utilize and benefit from interim critiques to improve your project will be a factor in your final grade for the project.


Student Name: ____________________________________ Date: ________________ University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer, Martin, & Zeichner LAND 2020 - Landscape Architecture Design Studio II PROJECT 1 - ONE HUNDRED TREES – PHASE TWO Issued: Monday, January 14, 2008 at the end of the class. Due: Friday, January 18, 2008 at the beginning of class. INTRODUCTION: You are now to enhance the spatial landscape experience explored in Phase One by adding the dimension of topography. Use landform (hills, valleys, berms, swales, etc.) to further enhance your designed space, strengthening your original concept statement. Your expression of your theme has been purposefully limited (simplified) in that you have had only one material to manipulate on the site (a single species of tree). Your method of communication has also been somewhat limited by working on a fixed ground plane. PHASE TWO PROJECT REQUIREMENTS: In the second phase, you are to enhance and deepen your concept (keeping the same theme), manipulating topography. You may choose to add contours to your flat model to create higher elevations or remove them to create lower areas. ALL LANDFORMS AND TOPOGRAPHIC MANIPULATION MUST END AT THE SITE BOUNDARY (i.e., you must return to the elevation of the flat model at the edges of the one acre site). No walls or steps are permitted. Use slopes no greater than the natural angle of repose (for the purposes of this project, assume a maximum slope of 2 to 1. You may make minor modifications to your tree configuration, based on comments received and new insights you may have. Study Model 2: Continue to explore design possibilities with a second study model, using similar materials, again at a scale of 1"=20'-0." This time the ground plane will be manipulated up or down to create topographic change, by adding or removing layers of cardboard. Keep your Phase One study model unchanged, to show the progression of your ideas. Make sure that you have additional cardboard in the studio, so that you can work on your model manipulation during class time. Once you have decided on the new topography, glue the cardboard and securely attach the trees. PHASE TWO EVALUATION CRITERIA: As in Phase One, check plus, check or check minus will be issued at this time for your project performance up to this point.


Student Name: ____________________________________ Date: ________________ University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer, Martin, & Zeichner LAND 2020 - Landscape Architecture Design Studio II PROJECT 1 - ONE HUNDRED TREES – PHASE THREE Issued: Friday, January 18, 2008 at the end of the class. Due: Friday, January 25, 2008 at the beginning of class. INTRODUCTION: You now have a topographic landscape covered in fine gravel and planted with a single tree species that spatially express your assigned word concept. You are now to add a groundcover material to your one acre site to strengthen and communicate your concept. The groundcover material may be the surface of the ground at zero elevation, up to a height of 18,” may be a natural (i.e. plants) or inert (i.e. gravel, stone) material. You have two options:

1. Add one new groundcover material to contrast with the fine gravel. 2. Change the fine gravel to a different material, and then add one more new

groundcover element. The surface materials may be distributed in whatever shape or pattern that you wish. Now the trees, topography and the groundcover should work together to define and communicate your concept. Based on new insights and feedback from faculty and classmates, you may make minor modifications to the tree pattern presented in earlier phases.. PHASE THREE PROJECT REQUIREMENTS: Study Model 3: Using similar materials and methods of construction, prepare a third study model to illustrate the latest additions to your design concept, again at a scale of 1"=20'-0." Show trees and topographic changes, as before; adding materials to represent ground surfaces, using materials in neutral colors. Securely glue all materials to the model. PHASE THREE EVALUATION CRITERIA: As in Phases One and Two, check plus, check or check minus will be issued at this time for your project performance up to this point.


Student Name: ____________________________________ Date: ________________ University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer, Martin, & Zeichner LAND 2020 - Landscape Architecture Design Studio II PROJECT 1 - ONE HUNDRED TREES – PHASE FOUR - POSTER Issued: Friday, January 25, 2008 at the end of the class. Due: Friday, February 1, 2008 at the beginning of class. INTRODUCTION: You are now to produce a final presentation drawing of your design. You may make minor modifications to your design, but the drawing should be a refinement of previous drawings worked out on tracing paper. This time you will use a 24x36" sheet of vellum, mounted on 24x36" white foam-core. Mounting with black clips is a recommended technique (rather than glue). Drawings shall be expressed in black and white (and gradated gray tones) only, using media described above for earlier phases. Carefully consider strong composition in composing your sheet's layout. PHASE FOUR PROJECT REQUIREMENTS: Plan: Prepare a graphically complete plan at 1"=10'-0." Indicate on the plan, with section-elevation cuts, the location of the sections and the direction of view. Section-elevations: Prepare 2 section-elevations at 1"=10'-0." Tree Species Sketches: As in your sketchbook, illustrate your tree species in a variety of views, including a profile showing the overall tree form and a close-up of the branching pattern. Sheet Title: Include the following information on the sheets:

Project title, North arrow, Graphic scale, Appropriate labels and titles for each drawing, The semester, Your professor’s name, Your name, The final due date.


Concept Statement: Write your concept statement somewhere on the sheet. EVALUATION CRITERIA: This project (all four phases) will be counted as 100 points and will be evaluated on the following categories:

• Choice of tree species represents and enhances the design concept. • Spatial characteristics of the design successfully capture the design concept. • Interpretation of the design concept is highly creative and takes us beyond the obvious. • Design concept is developed throughout the phases, and effective response is made to

suggestions for improvement in design critiques. • Study models are well-crafted and successfully create spatial and experiential qualities. • Final drawing graphically communicates design ideas in a detailed, pleasing and well-

crafted manner, demonstrating line hierarchy and a range of values.


University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer, Martin, & Zeichner LAND 2020 - Landscape Architecture Design Studio II PROJECT 1 - ONE HUNDRED TREES Theme Design Concept words Student Name Direction __________________________________________ Expansion __________________________________________ Ascension __________________________________________ Division __________________________________________ Progression __________________________________________ Contemplation __________________________________________ Protection __________________________________________ Isolation __________________________________________ Inspiration __________________________________________ Exhilaration __________________________________________ Unification __________________________________________ Repetition __________________________________________ Revelation __________________________________________ Seclusion __________________________________________ Encapsulation __________________________________________ Transition __________________________________________ Mystery __________________________________________ Transparency __________________________________________ Concentration __________________________________________ Cohesion __________________________________________ Variation __________________________________________ Harmony __________________________________________ Compensation __________________________________________ Sequence __________________________________________ Dynamism __________________________________________ Connection __________________________________________ Integration __________________________________________ Fluidity __________________________________________


University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer & Martin LAND 2020 - Landscape Architecture Design Studio II PROJECT 2 – THE CHOREOGRAPHY OF SPACE Issued: Monday, February 4, 2008, after lecture. Due: Friday, February 22, 2008 at the beginning of class. Field Trip: Wednesday, February 6, 2008. Meet your instructor at the Starbuck

located on the corner of College and Broad sharp at 8:00 AM. INTRODUCTION:

Cho-reo-graph \ ‘kor – ĕ - ə - , graf, 1: to compose the choreography of 2: to arrange or direct the movements, progress, or details of.

OBJECTIVES: Project two affords you the opportunity to study and analyze the details of moving through and interaction with space. From an experiential perspective landscape are created with two basic components: space or place and movement though place. The main objective is to explore through observation an existing landscape using conventional and unconventional analysis techniques.

“Paths are adopted and made to enable people and wildlife to travel easily between and with in places. Paths are not only places for movement, but for example in cities, streets become social and recreational places. Paths are also places of recreation when they are traveled for pleasure. In design, the landscape architect considers both movement for pleasure and necessity alongside the static social activities that may occur and can be facilitated on paths. Good path design is thus a primary method of enabling and encouraging access and enjoyment of the landscape. As paths play this key role, they are considered – together with spaces – part of the fundamental structure of the landscapes.” “MOVEMENT – kinetic experience of landscape” “The kinetic experience of the moving requires different design consideration and strategies to those necessary for a more static experience of landscape. Moving through the landscape makes us acutely aware of space – time relationships. The designer must be aware that what is sensed during movement in landscapes is constantly changing, with different views, sounds, scents, warmth, coolness, brightness and shade layered into the experience of a journey.” Catherine Dee; Form and Fabric in Landscape Architecture: A Visual Introduction


REQUIREMENTS:

1. To establish a path you are asked to execute three of the following requirements: • Pass under the UGA Arch. • Purchase a cup of coffee or beverage at your favorite downtown coffee house. • Sit on a bench at Herty Field and sip your coffee. • Pick up a document at President Michael Adams office. • Check out a library book from the Main Library. • Identify and locate a favorite plant in the Founders Garden. • Visit and sign the guest book at the Circle Gallery at the H.B. Owens Resource

Center.

2. Connecting three of these activities (in any order) will determine your path. Identify your path by designating the starting point as A, the ending point as “C” and intermediate point as “B”. Be certain to clearly identify what signifies the beginning intermediate and end of your path /space sequence. Example: The UGA Arch (Point A) to the entrance of Caldwell Hall (Point C).

3. With your journal or sketchbook in hand, begin at Point A and walk the path in its

entirety to Point C. Walk the space several times. The first time simply observe. On your second trip begin documenting the qualities of the spaces and experience in your journals. Remember: use and recognize the importance of all of your senses as you document the character of your surroundings. Use the following questions to prompt and guide your observations and assist you in describing how each of the components of the experiences change as you move from point to point. Be descriptive.

• What time of the day? • Describe the weather. • What is the quality of the light? • What fragrances do you detect? • What kind of sounds do you hear? • Does your walking speed vary? If so, how and why? • What do you see? • What landscape elements (trees, water, rocks, etc.) define the path and spaces? • What kind and what sizes are the spaces your path passes through (scale)? • What is the purpose/function of the spaces along your path? • Do the spatial functions vary based on the time of the day; kind of weather, etc.? • How much (and what kind) of activities are occurring along the path? • What is the nature of the activity (social, directed, etc.)?

4 Make at least three sets of observations at different times of the day and/or under

different weather conditions. Recording the details will reveal how time and conditions can alter impressions. Information should be recorded as sketches, diagrams, and timelines.


5 As you are documenting the experience, experiment graphically to explain simultaneous experiences.

PROJECT: The final presentation of this information will be in the form of a linear “SCORE.” Just as music is written in parts on parallel lines, your findings will be presented in a similar context. Begin with a descriptive functional diagram show the sequence of spaces, pathway connections and spatial containments. Paralleling this linear diagram of your path/place, illustrate the experience using vignette sketches, verbal descriptions, timeline, etc. Use as many graphic tools as necessary to describe the experience, indicate special sequences, size of spaces, path, focal points, etc. The final presentation will be a linear piano player roll of information describing your path and place. Document your observations on butcher/brown paper 18” (high) x 40” (long) using any rendering media of your choice. The choice should be consistent with the character you are trying to convey. The following is a sketchbook version of how you might plan your “SCORE.” Examples:


READINGS: Reading should not only provide insights and ideas to your analysis but also to the vocabulary you might use to describe your experience and the graphic communication possibilities.

Form and Fabrick by Catherine Dee. • Chapter 2 – Spaces, Pages 33 thru 80 • Chapter 3 – Paths, Pages 84 thru 110

EVALUATION: This project will be worth a total of 100 points and be evaluated based on the following general criteria:

• Rigor and detail of observations • Skillful use of graphics to communicate findings

(Sketches, diagramming, vignettes, verbal description, axons, section/elevation).

• Graphic Communication This project should consist of hand lettered hand drawn information and be consistent with the quality of illustrations in your text. DO NOT DRAFT!


University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer, Martin & Zeichner LAND 2020 - Landscape Architecture Design Studio II PROJECT 3 ANALYZING A CONTEMPORARY WORK

OF LANDSCAPE ARCHITECTURE HEROES Issued: Monday, February 25, 2008 at the end of the class. Part 1 Due: Monday, March 3, 2008 at the beginning of the class Part 2 Due: Monday, March 17, 2008 at the beginning of the class. Part 3 Due: Monday, March 24, 2008 at the beginning of class. INTRODUCTION: In this study, you will have the opportunity to explore many of the basic ordering principles of design by analyzing contemporary built works of landscape architecture. By focusing on the analysis of a particular designed landscape, you will benefit from understanding how a concept can be realized in built form. In the process, you will research, explore and graphically communicate those elements which form the structure of the design. After a careful analysis of the landscape design you have selected, you should be able to understand how the initial design concept has driven the design, recognize the formal, spatial and ordering principles in the design, graphically communicate design ideas using clear and cogent diagrams, and finally to understand and utilize the vocabulary of analysis. The presentations will introduce the class to a range of masters/heroes of the profession of landscape architecture whose built works are considered icons of the 20th century. REQUIREMENTS: PART 1 - RESEARCH Use the Owens Reference Library, the main UGA Library, and the internet to research 20th century and contemporary landscape architects and landscape architecture firms and their works. Choose a minimum of 3 landscape designs that peak your interest, then choose your favorite that has enough complexity for an in-depth analysis. You must have the following information on your 3 top/favorite design and designers:

• A statement of the design concept. • A readable plan of the design with topography and scale. Topography is essential unless

the plan can be read in simple planes at various elevations. Scale may be inferred by measuring a known part of the plan.

• Three or more photographs including aerial if available. • Any additional drawings, details, sketches, project descriptions, etc. • Environmental, historical and cultural context of the project. • Summary information about the firm or designer and their design philosophy.


Bring the 3 names of your top favorite designers and at least a plan for each one of the landscape projects you would like to investigate for approval by your instructor by the beginning of the next class period. As soon as you have selected the landscape architect and design, sign-up on the posted sheet in studio. Once a project is chosen and recorded, it is off limits to the rest of the class. “The early bird catches the worm!” Also bring all information, plans, photos, books, tracing paper, vellum, rendering tools, etc. on your design and designer ready to work in the STUDIO, since that time will be spent preparing a 11” x 17” B/W Research Poster presentation of your Landscape Architect heroes investigation. Make sure you bring enough information for each one of your top 3 choices, so you will be ready to work in case any of your peers choose your 1st or 2nd choice. Studio work ethics will be used to evaluate your performance in this project. Your Research poster and all the different elements required must be artistically done in one sheet of vellum. No computer graphics, in any form, will be allowed for this project. No sticky back paper or glue items attached to the poster will be permitted. No use of color will be allowed. Use only graphite pencil or black ink marker/sharpie/microns pens. You are allowed to print your text (word software) and trace it into your poster using the rendering media of your choice. Same applied for images, pictures, plans, and any other graphics. The objective of this is to reinforce your hand graphic. Please include in your poster; your name, UGA, SED, Land 2020 – Spring 2008, the title of the project, your professor name, labels, and north arrow or scale if appropriate/necessary. Research Poster Due: Monday, March 3, 2008 at the beginning of the class. Be ready for a class presentation of your design and designer. Make enough copies of your poster (11” x 17” in size) to distribute among your peers. PART 2 - ANALYSIS For the next week you will be analyzing your design and preparing a series of analytical drawings that explore and identify the design concepts. Using the terminology and graphic representation of Francis Ching in his book, Architecture: Form, Space and Order (textbook required for this class), graphically depict selections from the following ideas as they apply to your project:

• Ordering principles (axis, symmetry, hierarchy, rhythm/repetition, datum, transformation) • Spatial organizations (centralized, linear, radial, clustered, grid) • Spatial relationships space within a space, interlocking spaces, adjacent spaces, spaces

linked by a common space) • Points in space and implied lines of connection to structures, places or other points • Qualities of architectural space (enclosure, light, view) • Circulation (approach, entry, threshold, arrival) • Proportion • Indoor/outdoor relationships • Form

In addition use the language and graphics of your previous project required readings; Catherine Dee, Form and Fabric in Landscape Architecture. Graphically represent the following ideas as


they apply to your project. Review Dee’s examples of landscape fabric analysis before you begin:

• Spatial quality • Path typology • Quality of Edges • Foci • Thresholds • Landscape Detail

Bring all information, plans, photos, books, tracing paper, vellum, rendering tools, and READINGS of your chosen LA Hero ready to work in the STUDIO, since that time will be spent preparing a 11” x 17” B/W Analysis Poster presentation of your Landscape Architect heroes investigation. Your poster must match the same format (landscape or portrait view) and graphic style of your Research Poster. Your Analysis poster and all the different elements required must be artistically done in one sheet of vellum. No computer graphics, in any form, will be allowed for this project. No sticky back paper or glue items attached to the poster will be permitted. No use of color will be allowed. Use only graphite pencil or black ink marker/sharpie/microns pens. You are allowed to print your text (word software) and trace it into your poster using the rendering media of your choice. Same applied for images, pictures, plans, and any other graphics. The objective of this is to reinforce your hand graphic. Please include in your poster; your name, UGA, SED, Land 2020 – Spring 2008, the title of the project, your professor name, labels, and north arrow or scale if appropriate/necessary. Analysis Poster Due: Monday, March 17, 2008 at the beginning of the class. Be ready for a class presentation of your hero’s analysis. Make enough copies of your poster (11” x 17” in size) to distribute among your peers. PART 3 - YOUR LANDSCAPE ARCHITECT HERO BECOMES YOUR MUSE Based on your research and analysis you are now required to design a public pocket park, for the city of Athens-Clarke County-Georgia, inspired by the body of work of your Landscape Architect Hero. Using the design principles, theories, and/or philosophies of your LA Hero, and within the context of the site selected by your instructor, your public space must be designed as “if it was done” by your LA Hero. The program development and/or requirements for the design of this public pocket park are entirely open (anything goes) as long as you address the following questions:

• What he/she will build on the site? • What kind of vision or design concept your LA Hero will come up with to develop the

site? • What kind of features, amenities, materials, forms, shapes, and/or planting they will use? • What demographic group of “people” will they design for?


To document your LA Hero’s inspired design, you are required to create an 11” x 17” poster presentation that includes the following:

• Plan view drawing of the site at 1/8” = 1’-00” Scale. • One Section-Elevation of the site at a scale that best illustrates your design. • One sketches or perspective drawings illustrating the best features of the site. • A brief concept statement that addresses the questions stated in the above paragraph.

Note: Please include people and/or cars for scale in your plan or sections. Your Design poster and all the different elements required must be artistically done in one sheet of vellum. No computer graphics, in any form, will be allowed for this project. No sticky back paper or glue items attached to the poster will be permitted. No use of color will be allowed. Use only graphite pencil or black ink marker/sharpie/microns pens. You are allowed to print your text (word software) and trace it into your poster using the rendering media of your choice. Same applied for images, pictures, plans, and any other graphics. The objective of this is to reinforce your hand graphic. Please include in your poster; your name, UGA, SED, Land 2020 – Spring 2008, the title of the project, your professor name, labels, and north arrow or scale if appropriate/necessary. Design Poster Due: Monday, March 24, 2008 at the beginning of the class. Be ready for a class presentation of your hero’s inspired design. Make enough copies of your poster (11” x 17” in size) to distribute among your peers. EVALUATION: This project will be worth a total of 100 points and be evaluated based on the following general criteria:

• In-depth Research. • In-depth Analysis. • In-depth exploration of the hero's design intentions and how they were realized in

physical form (your Design). • Understanding and Interpretation of Your Hero's Concept. • Graphic resolution, craftsmanship, composition, cleanness/neatness, organization, and

sheet layout. • Use of studio time, professionalism, following instructions, and work ethics. • Completion of the project, assignment directions, and presentation skills.


EXAMPLE OF RESEARCH POSTER:


RESEARCH STARTER LIST: Here is a starter list of landscape designers for you to begin your research. Use this as an opportunity to peruse the books and journals available at the Owens Resource Library. Check out landscape designs of these landscape architects or landscape architecture firms now in practice that have their own web sites: William Wenk Robert Murase George Hargreaves Michael Van Valkenberg E D S A E D A W Design Work Shop Peter Walker Laurie Olin Hanna/Olin Oehme, van Sweden & Associates Andropogon Associates Steve Martino

Richard Haag Ken Smith Carol R. Johnson Associates Child Associates/Susan Child Douglas Reed Walter Hood Martha Schwartz Bernard Tschumi (an architect who designed Parc de la Villette in Paris) Thomas Balsley Maya Lin

Landscape architects outside the US now in practice: Dieter Kienast Bernard Lassus Peter Latz Kathryn Gustafson

West 8 – Adriaan Geuze Shlomo Aronson Grupo de Diseno Urbano Alexandre Chemetoff

Masters of the Modern Project: Dan Kiley Garrett Eckbo Lawrence Halprin Hideo Sasaki SWM Roberto Burle Marx A. E. Bye Paul Friedberg Meade Palmer Fay Jones Internationally re-known Architects Tadao Ando Emilio Ambasz Santiago Calatrava


University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer & Martin LAND 2020 - Landscape Architecture Design Studio II PROJECT 4 – The Tunnel Issued: Monday, March 24, 2008 at the end of the class. Due: Friday, April 11, 2008 at the beginning of class. INTRODUCTION:

“Architectural space reveals and instructs. How does it instruct? In the Middle Ages, a great cathedral instructs on several levels. There is the direct appeal to the senses, to the feeling and the subconscious mind. The building’s centrality and commanding presence are immediately registered. Here is mass – the weight of stone and of authority – and yet the towers soar. These are not self-conscious and retrospective interpretations; they are the response of the body.”

Space and Place Yi-Fu Tuan PROCEDURE: In this assignment, you will begin to explore the making of space, using mass/void relationships. Given a solid mass, 64'x64'x192' in size, carve a passageway, designed for human scale, from one end of the mass to the other. Begin at point A and end at point B, located a distance of 240 feet apart (you have 24 feet at each end of the mass to consider). Assume that the visitor is moving from west to east (from left to right on your drawing). Assign a sequence of movements through a space, or series of spaces. Demonstrate understanding of the principles of design such as balance (symmetry-asymmetry), variety (interest), rhythm/repetition (unity), contrast (clarity), and emphasis (hierarchy). Be conscious of scale and proportional relationships. Consider how the experiences of approach, entry, threshold and arrival relate to the passage. You may appeal to the senses, especially touch, sight and sound. Consider the use of light, water, and texture, where appropriate, to create the mood or ambiance of the interior. You may assume that there is some artificial light source, illuminating the interior. You are not to consider the skin, or outer surface, of the solid mass as a part of the assignment, except the façade where your passage enters and exits (no windows, roof or other literal architectural features allowed). You may, however, penetrate the skin with openings no larger than 2'x2' each, with a maximum of 64 SF total. In designing the immediate exterior space at the entrance and exit of the tunnel, think about how the inside and outside interact. Consider that the mass that you carve out could be utilized directly on the outside (positive-negative).


Outside the tunnel, avoid the use of literal landscape materials (trees, shrubs, groundcovers, lawn, pavement, water, arbors, pergolas, sculptures, etc.). Use inert materials and surfaces to form volumes of space and to direct the user along the path. Consider the following:

“Of a room’s three dimensions, its height has a greater effect on its scale than either its width or length. While the walls of the room provide enclosure, the height of the ceiling plane overhead determines its qualities of shelter and intimacy.” “In addition to the vertical dimension of a space, other factors that will affect its scale are: -the shape, color, and pattern of its bounding surfaces, -the shape and disposition of its openings, -the nature and scale of the elements placed within it.”

Architecture: Form Space & Order

Francis D. K. Ching

REQUIREMENTS: 1. Prepare a clear statement of your concept in writing at the beginning of the class by Wednesday, March 26, 2008. You may select a theme to guide your design decisions. Possibilities include books, movies, poetry or music. Utilize your journal to develop preliminary sketch ideas. Please, be brief and concise in your maximum one page statement. Include in your concept statement, your name, project number, and class information. Also, bring to class construction paper so you can start working on step 2.

NOTE: Although black construction paper is the preferred format due to the high contrast required for making Figure Ground Studies, any other dark color or neutral such as brown or grey would work. White construction paper would not work for this assignment. The key is to keep it monochromatic. Any art supply store carries cheap construction paper in solid colors. Please be ready for class. Failure to bring the required material will be detrimental to your project grade.

2. On Wednesday, March 26, 2008, and with black construction paper, explore the subtractive and additive process by cutting out 2D shapes (that represent 3D forms). The 2D shapes also represent elevation or plan views. Assume that the black paper represents the solid portion of the tunnel. The white color of the tracing paper, where you are attaching the cut outs with glue or clear tape, represents the void. By cutting out forms, you are subtracting mass and creating interior volumes. Next, utilize these paper cutouts on the exterior portion of your project. In using these configurations in the landscape, you are adding masses that reflect a similar form vocabulary to the interior volumes. Use 1/8” = 1’-00” as the general scale for proportions and size. Be prepared to show your preliminary cutouts at the beginning of the class by Friday, March 28, 2008.


3. Using the cut out collage as a guide, place tracing paper on top of it, and refine it as a drawing. The preliminary plan and section of your design should be done at 1/8"=1'-0". Be prepared to pinup your drawings at the end of class by Monday, March 31, 2008. You might need to refurbish your Sharpie or Prisma Color Black markers for this portion of the project. You are going to need…a lot. 4. On Wednesday, April 2, 2008, we will continue to explore your design in sectional views. Cut both longitudinal and transverse section-elevations of your plan. The sooner you make these sectional cuts, the sooner you will understand the volumes you are creating. You are also required to start working in Studio on the final portion of this assignment (Poster). 5. On Friday, April 4, 2008, continue working on the Poster Presentation. Posters are due Friday, April 11, 2008. Draw on two 24"x36" sheets of vellum:

• A plan of your design at 1/8”=1’-0.” • A longitudinal section-elevation at 1/8”=1’-0.” • A series of transverse section-elevations, illustrating the spatial sequence along the

path, and showing material choices. • Include a title block with your name, class information, and project number. • Include a brief paragraph explaining your Design Concept for the Tunnel.

MATERIALS:

• (2) 24x36” sheets of vellum • Black construction paper, clear tape, trace paper, and graphic rendering tools • Black drafting ink or heavy black marker of your choice

REFERENCES:

• The Concise Townscape by Gordon Cullen • Space and Place by Yi-Fu Tuan • Form and Fabric in Landscape Architecture by Catherine Dee • Architecture: Form, Space & Order by Francis D. K. Ching

EVALUATION: This project will be worth a total of 100 points and be evaluated based on the following general criteria:

• Concept Statement • Development of the Concept • Creative Composition • Graphic Resolution


University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Cramer & Martin LAND 2020 - Landscape Architecture Design Studio II PROJECT 5 – The Muse – A Public Park Design Competition Issued: Friday, April 11, 2008 at the end of the class. Due: Monday, April 28, 2008 at the beginning of class. INTRODUCTION:

“Life is too short to be taken seriously.” Oscar Wilde “If a cluttered desk is a sign of a cluttered mind, of what, then, is an empty desk?” Albert Einstein “And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country.” John F. Kennedy “I only hope that we don't lose sight of one thing - that it was all started by a mouse.” Walt Disney

Through out history, famous individuals, in one moment of divine inspiration, make public statement that have created a tremendous impact in society and forever changed the way people look at it the world. These celebrities have coined quotes that have such a social resonance in ways that transcend history. Even who, when, and where these individuals stated similar words, the definition and the message to the masses is completely different.

“Imagine.” John Lennon “Imagine.” Walt Disney In the past, famous work of literature have inspired designers to create and built a new world; i.e., Capability Brown picturesque and the romanticism of the late Victorian Era. Today, famous individual quotes can be the source for inspiration to design meaneaful places. This is the case of the design of “Imagine at Strawberry Fields in Central Park of the city of New York-NY.” Imagine was created by landscape architect Bruce Kelly, in honor of the late singer-song writer-peace activist John Lennon. The design is base on the song “Strawberry Fields” where the word “Imagine” is used to describe a world at peace. John Lennon’s widow, Yoko Ono, donated $1 million dollars to the Central Park Conservancy which is responsible for maintaining the site.

Image Source: http://www.centralpark.com/pages/attractions/strawberry-fields.html


PROJECT REQUIREMENT: Phase 1: Research-Analysis The city of Athens-Clarke County-Georgia announced a statewide competition to design a public park in honor to a famous individual who inspired the world. Your design concept for this memorial will be solely based on the words of the quote of the famous individual of your choice. The requirements for the quote are that:

• It has to be politically correct and can not be offensive to anyone. • It has to be a coined more than 20 years ago. • The quote has to be respectful of the setting and in light of the ideals of the founders of

the city of Athens. You are required to research the life of your famous individual (biography), the time and period of his/her life, the historical context of the quote, the meaning-impact, and how the quote changes society and the world. You are also required to come up with the name for this new public park. In addition, a program development (what you want this park to be?) of the site should be established and based on; the finding, discoveries, scale, context, and/or conclusion of your personal analysis-inventory of the site. This should lead you to find a potential use/purpose of this public space, and the constraint and possible solutions associated with it. Keep this exploration and documentation on your sketch journal. To present your research-analysis of your famous individual quote, you are required to create an artistic-collage poster (11” x 17” vellum) depicting all the information describe above, plus the famous quote. Proper picture citation and bibliography entries must be incorporated into the Research Poster. A brief statement describing your program development of the site must be incorporated into the poster as well. Your poster should be done in black, white, and grey tones/values only. Please include your name, Land 2020 – Project 5 – Your Name for the Park, Instructors name, UGA-SED, spring 2008. Phase 1 is due Friday, April 18, 2008 at the beginning of the class. Phase 2 – The Park Design The Planning Board Members of the City of Athens have decided that the design for the park must comply with only one of the several design approach principles stated by Mike W. Lin’s Drawing and Designing with Confidence, Chapter 9. The design approach principles are:

• Rectilinear • Rectilinear 45 • Radial • Arc and Tangent • Irregular • Curvilinear


You must choose the design approach principle that best suit your design concept-quote. Your design concept for this park will be solely based on the words of the quote of the famous individual of your choice. There are no limits of how high, big, wide, or of what materials, techniques, technology, planting, form, shape, and colors can be used to create this memorial. The only limitation is that it needs to fit into the boundaries of the site and also address its context. To present your Park Design, you are required to create a Master Plan at 1” = 30’ -00” scale, a minimum of 2 section-elevations at a scale that best illustrate your design and two sketches (perspective and or axon views) that showcase the character of your design. All this must be incorporated into a two separate posters (11” x 17” vellum). Your posters should be done in black, white, and grey tones/values only. Please include your name, Land 2020 – Project 5 – Your name for the park, Instructors name, UGA-SED, spring 2007. Phase 2 is due Monday, April 28, 2008. EVALUATION: This project will be worth a total of 100 points and be evaluated based on the following general criteria:

• In-depth Research and Analysis. • In-depth exploration of the famous individual quote and how it’s implemented in a

physical form (your Design). • Understanding and Interpretation of the quote. • Graphic resolution, craftsmanship, composition, cleanness/neatness, organization, and

sheet layout. • Use of studio time, professionalism, following instructions, and work ethics. • Completion of the project, assignment directions, and presentation skills.

- 1 -| L a n d s c a p e A r c h i t e c t u r e H a n d G r a p h i c s S t u d i o

Student Name: ________________________________ Date: ____________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2007 – Instructors: Buitrago, Calabria, Martin, Pardue, & Parker LAND 2210 - Design Communication I Call #: 60 198 Asst. Prof.: José R. Buitrago When: Tuesday & Thursdays

2:00 P.M. thru 4:45 P.M. Where: Room 410

4th Floor Studio, Caldwell Hall Office: 407 Caldwell Hall Office Hours: Open Door policy Or by appointment. Phone: (706) 583-0942 E-Mail: [email protected] PREREQUISITES: None COURSE DESCRIPTION: This class is an introduction to manual drafting skills, with an emphasis on the development of hand graphics for landscape architecture. COURSE OBJECTIVES:

Knowledge: • Understand traditional drafting conventions and representation graphic

communication as an inseparable part of the design process. • Apply graphic communication skills as a tool of persuasion through

composition, media, entourage and various orthographic techniques.

Skills: • Display semi-professional quality lettering and drafting. • Display a sense of line hierarchy and line quality. • Develop scaled drawings in pencil, ink and color. • Develop semi-professional quality work demonstrating sheet layout, title

blocks and reprographic methods.

Values: • Through the introduction and use of various design drawing tools, the ability

to communicate graphically, think visually, and utilize graphics as a part of the design process.


METHODS: This course will be taught in a studio-lecture format. Lessons and demonstrations will be part of the studio time. GRADING SYSTEM: Grading is based on the University System Percentage as follows: A = 100%-95% Excellent: Work reflecting superior design and graphic ability A- = 94.9%-90% logically thought out and presented. Changes or revisions would be minimal. B+ = 87%-89.9% Good: Work representing a good understanding of the theory and B = 83%-86.9% concepts involved in the project but should be slightly reworked. B- = 80%-82.9% C+ = 77%-79.9% Fair: Work which indicates a satisfactory understanding and C = 73%-76.9% execution of the project. Moderate revisions would be necessary. C- = 70%-72.9% D = 60%-69.9% Poor: Work which is incomplete and the design process and project solution are poor or inconsistent. Work shows lack of comprehension of subject matter and would require extensive

revisions. F = 59.9% Unacceptable Students who fall behind in class work are STRONGLY encouraged to withdraw from the class. A grade of incomplete will only be given in extenuating circumstances. GRADING: Grading will be based on performance in the following projects/assignments:

• Project 1 – Lines & Lettering 16.66 % Semester Grade • Project 2 – Drafting & Dimensioning 16.66 % Semester Grade • Project 3 – Plan View Drawing 16.66 % Semester Grade • Project 4 – Section/Elevation Drawing. 16.66 % Semester Grade • Project 5 – Perspective/Axon Drawing. 16.66 % Semester Grade • Project 6 – My Entourage 16.66 % Semester Grade ___________________________________________________________________ Total 100% Semester Grade

Each student will receive a problem statement outlining the requirements and details for each of the above assignments. Projects have been designed to present a realistic professional challenge.


REQUIRED TEXBOOKS: • Doyle. Michael E. Color Drawing. New York: Van Nostrand Reinhold, 1993.

ISBN 0471292451 • Lin, Mike W. Drawing and Designing with Confidence. New York: Van Nostrand

Reinhold, 1993. ISBN 0471283908 • Reid, Grant W. Landscape Graphics. New York: Whitney Library of Design,

1987. ISBN 0823073335 • Wang, Thomas C. Plan & Section Drawing. New York: Van Nostrand Reinhold,

1996. ISBN 0471286087 SUPPLEMENTAL TEXT:

• Bertauski, Tony. Plan Graphics for the Landscape Designer. Pearson Education, 2006. ISBN 0131720635

• Lin, Mike W. Architectural Rendering Techniques. New York: Wiley, John & Sons, Inc., 1985. ISBN 0471289396

• Wang, Thomas C. Pencil Sketching. New York: Wiley, John & Sons, Inc, 2001. ISBN: 0471399191

MATERIALS: A list of required drafting tools and materials will be provided. It is the student’s responsibility to have the required drafting tools and materials in studio at all times. Not having your drafting tools and materials during studio time and class session will be detrimental to your academic progress and final grade. The instructors of this class, at their discretion, will request the student who fails to bring their drafting tools into class to leave the classroom and be noted as absent in official class records. CLASS STANDARDS: Attendance: Is mandatory and a record will be kept of each class meeting. At the beginning or end of each class period, it is the student’s responsibility to sign the attendance sheet to receive full credit. Failure to sign in will count as an unexcused absence. In addition, habitual tardiness (arriving 15 minutes after class commence) will lower your grade at instructor’s discretion. Each student has three “sick” days during the entire semester. These days are intended to be used when you cannot attend class because of illness. I do not require a medical excuse; instead you are allotted three days to recuperate. Every absence from class will be counted if you produce a medical-certified excuse or not. The fourth absence (regardless of reason) will reduce your final grade by one letter grade. The fifth absence will reduce your final grade by two letter grades. If you have a medical condition that requires you to miss class more than three times, you must discuss this with me ahead of time. A student with excessive absences (six or more missing days) will be administratively withdrawn from the course.






reasons."

2002 -2003 UGA Undergraduate Bulletin, Page 40

Students are expected to attend all studio classes and are responsible for all material covered during class meeting times. Studio Rules and Etiquette: During studio classes the following will not be permitted; use of tobacco in any form, playing radios or tape/CD players (including use with ear phones), Laptop Computers, and I-Pods. While working in the studios outside of class time, radios and tape/CD players may be used only with earphones. These are departmental policies and apply to all students in the landscape architecture program. Please observe common courtesy when working with others in the studio, particularly while other classes are being conducted. Due Dates, Deadlines and Presentations: Assignments must be submitted on the stated due date, time, and place. Any project turned in late, up to 24 hours, is automatically marked down a full letter grade. Any exception must have prior written approval from the SED Director no less than 24 hours before project is due. Special forms are available from Degree Program Specialist in Room 601 Caldwell Hall to request an extension. Work missed due to illness is required to be submitted no later than one week from the student’s return to class. The Ramsey Center Nurse Stamped illness excuses are no longer acceptable by UGA-SED. The acceptable medical illness excuse is a typed, letterhead, dated, with phone - address, Doctors’ letter, explaining that the student was unable to complete the project due to sickness. Projects/Assignments: All semester required projects/assignments must be submitted. Students who fail to submit any one of the projects will receive a non passing grade ( F ) at the end of the semester. Special Circumstances: Other situations will be dealt with on a case by case basis between the student and the instructor outside of class time, or through the Office of Student Affairs - Student Support (706/542-8220 or www.uga.edu/studentaffairs/students) located in 115 Holmes/Hunter Academic Building. Arrangements will be made in writing and signed by both parties. Please do not attempt to discuss late work or absences during studio. Dress Code: Please dress professionally. During final project presentations, students will be expected to wear professional dress. During studio; casual clothes suitable for work in an office will be expected. In others words, caps off and midriffs covered. Eight o’clock classes can place time constraints on preparing ones self for the day. So, please allow adequate time in your morning to negotiate campus traffic, park, ride the bus, etcetera, and arrive in class on time and prepared to have a great day. Students who wear baseball caps during class will be asked to take it off. Wearing a baseball cap or hat inside a building (indoors) is considered a sign of bad behavior and manners. Also is non-polite, non-professional attire, a sign of low self esteem or lack of hygiene, premature baldness, and is considered rude in any cultural setting around the world, so please don’t do it. If


you have a medical condition (i.e. skin cancer) or for religious reasons which require you to wear a hat indoors, please contact your instructor at the end of the class period. Cell Phone Use: Cell phone use during class is considered a public distraction. There will be ZERO tolerance of cell use in any fashion. All cell phones must be turned off during studio and placed out of sight in back packs, purse or lockers. If they disrupt the class by ringing, singing, jiggling, gravitating, vibrating, lighting show, or gyrating they will be confiscated and turned into the dean’s office. Work Completion: Students are required to keep all work completed during the semester until the end of the term in order to review progress and aid discussions if necessary. Make Up exams or projects will only be administrated for documented and unavoidable excused absences including hospitalization and family crisis. Please communicate your situation to your instructor via e-mail prior to missing an assignment or exam if possible. Sketchbooks: Keeping a sketchbook during the semester is highly recommended. Although students will still be expected to continue to use sketching to improve graphic skills and explore design ideas, sketchbooks will be used to begin a more critical record of the world that surrounds us and to develop process graphics. Equipment: Students will be expected to have available for use all equipment and materials purchased for Graphics I and II. Please inventory your equipment and supplies before classes begin and purchase anything missing or depleted. Documentation of Student’s Work: Students are encouraged to photograph or otherwise document all projects at the end of the semester for possible inclusion in their student portfolio. According to UGA-SED policy; students’ class work becomes intellectual property of the School. The University, the School, and the instructor reserve the right to keep your work without the student’s approval. Studio Work: All students are encouraged to work together in the studio, outside class time rather than at home. You will each benefit from the interaction with classmates and upperclassmen, if you take advantage of this opportunity. Typically, students who produce superior work fully participate in the studio environment. Students who preferred to work at home (statistics show) earned the lowest grades because they missed the benefit of the interaction with classmates and upperclassmen. Studio Environment: Please do everything you can to make our studio a pleasant, exciting place where fun inspires you without hindering other’s concentration! Daily Quiz: Can occur at any time, at instructor’s discretion. Disabilities: Students with special needs due to learning or physical disabilities should contact the Office of Student Affairs - Disability Resource Center (706/542-8719 or www.drc.uga.edu) located in 114 Clark Howell Hall. Academic Honesty: All students are responsible for maintaining the highest standards of honesty and integrity in every phase of their academic career. The penalties for academic


dishonesty are severe; ignorance of what constitutes dishonesty is not an acceptable defense. Plagiarism in any form will not be tolerated. NOTE: Calendar and syllabus are subject to changes. SED reserves the right to select and retain possession of digital copies of all written and graphic student work. All SED policies and procedures applicable to studio facilities and computer lab operation will be enforced. Please read and observe all these policies. Studio and labs are monitored by camera to insure your safety and compliance.


Student Name: __________________________ Date: ______________

University of GeorgiaCollege of Environment & DesignSchool of Environmental DesignFall 2008

Land 2210 - Design Communication IInstructors: Buitrago, Calabria, Pardue, Parker, & Martin

GENERAL SCHEDULESubject to revisions at discretion of instructors.

Week Tuesday ThursdayAugust 19, 2008 August 21, 2008

1 Class Introduction Equipment overview, lettering, and Issues Project 1 and 6 drafting demonstration.August 26, 2008 August 28, 2008

2 Demonstration leftover Lines and lettering work day.Issue Project 1September 2, 2008 September 4, 2008

3 Lines and lettering work day Project 1 Due at end of class.Issue Project 6September 9, 2008 September 11, 2008

4 Issue Project 2 Drafting and Dimensioning.Drafting and Dimensioning.September 16, 2008 September 18, 2008

5 Drafting and Dimensioning. Drafting and Dimensioning work day.Check Up 6 (1 of 10)September 23, 2008 September 25, 2008

6 Drafting and Dimensioning work day Project 2 Due at end of class.Check Up 6 (2 of 10)September 30, 2008 October 2, 2008

7 Issue Project 3 - Check Up 6 (3 of 10)Plan View graphics demonstration. Plan View graphics demonstration.October 7, 2008 October 9, 2008

8 Plan View graphics demonstration. Plan View graphics work day.Check Up 6 (4 of 10) Mid-Term


Week Tuesday ThursdayOctober 14, 2008 October 16, 2008

9 Plan View graphics work day. Project 3 Due at end of class.Check Up 6 (5 of 10)October 21, 2008 October 23, 2008

10 Issue Project 4 - Check Up 6 (6 of 10) Section/Elevation Demonstration.Section/Elevation Demonstration.October 28, 2008 October 30, 2008

11 Section/Elevation Demonstration. Section/Elevation work day.Check Up 6 (7 of 10)November 4, 2008 November 6, 2008

12 Section/Elevation work day. Project 4 Due at end of class.Check Up 6 (8 of 10)November 11, 2008 November 13, 2008

13 Issue Project 5 - Check Up 6 (9 of 10)Axon/Perspective Demonstration. Axon/Perspective Demonstration.November 18, 2008 November 20, 2008

14 Axon/Perspective Demonstration. Axon/Perspective work day.Project 6 is DueNovember 25, 2008 November 27, 2008

15 Thanksgiving-Fall Break Thanksgiving-Fall BreakNo Class No ClassDecember 2, 2008 December 4, 2008

16 Axon/Perspective work day. Project 5 and 6 due at end of class.Last Day of Classes

*Note:The University shall operate a Friday class schedule on Tuesday, December 9, 2008. This is done to equalize the class minutes between MWF and Tu-Th classes and to provide an equal number of class meeting for courses which may meet only once per week.


Student Name: __________________________________ Date: __________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Instructors: Buitrago, Calabria, Pardue, Parker, & Martin LAND 2210: Design Communication I Project 1: Lettering Exercise Assign: Tuesday, August 19, 2008, at the end of class. Due: Thursday, September 4, 2008, at the end of the class. Objective: In this project you will be using free hand lettering to demonstrate a variety of lettering techniques. Assignment: On 2 sheets of 11”x17” vellum:

1. Use a thick Sharpie to create a border 1/2” in from the edge of the paper and a 1” title block.

2. From ½” of the top border, use 3 guidelines and a 2H chiseled pencil to letter the

following two passages at 1/8” height with 1/8” spacing between the lines and ½” space between the passages:

Letter a drawing last to avoid smudges and overlapping with other areas of the drawing. This will enable you to space out your lettering and to avoid lettering over important details. Relate the size of the lettering to the importance of the labeling. Make letters bold and distinctive. Try emphasizing the beginnings and ends of strokes.

Grant Reid. Landscape Graphics.

Lettering is integral to the overall composition of design projects. It is often used in plan, elevation, section, sketch, and perspective drawings. If not done properly, it can greatly affect the quality of a drawing.

Mike Lin. Drawing and Designing with Confidence.

3. From ½” down of the above passage, letter as above, the following two passages at 3/16” height with 3/16” spacing between the lines and 1/2” between the passages:

Section and elevation drawings often must rely on annotations to clarify the message. Annotations should be preplanned during the layout of the drawing and should never be done as an afterthought. Text should be organized, consistent, and simple.

Thomas Wang. Plan and Section Drawing.


Drawing is closely related to art, which itself is a designing process. Thus, learning an artistic approach to creating a design helps support one’s understanding of the design process.

Tony Bertauski. Plan Graphics for the Landscape Designer.

4. From ½” down of the above passage, use an H or F pencil to letter the following

lines at ½” height with ¼” spacing between the lines:

The University of Georgia School of Environmental Design Your first initial and last name

5. There are times when standard lettering will be too large or too small for a

particular space; sometimes a curved lettering format is appropriate. On the second sheet of vellum, ½” down from the top border, use a 2H pencil to letter Landscape Architecture and your name ½” in:

a. Expanded lettering using 1:1 proportion. b. Condensed lettering using 4:1 proportion. c. Your name and LAND 2210 on a curved format.

6. Choose a word or common grouping of words that lend themselves to visual play

and interpretation, example; BIG small. After an exploration of possibilities (thumbnails), selection, and refining of your best solution on trace, transfer and use Sharpie markers to create your lettering solution at least ½” down from the above lettering in part 5. Take into consideration size, balance, spacing and impact within the format and the page as a whole.

7. From ½” down of the above, using 3 guidelines and an H or F pencil, freehand letter the alphabet in upper and in lower case, and numbers, 1 through 10 at ¼” height.

8. In the title block of each sheet include your name, LAND 2210, Project 1, date,

and Sheet 1 (or 2) of 2 using large and small pencil lettering.

9. Make a black and white copy of sheet 1 and a color copy of sheet 2 to turn in and keep your originals in your portfolio.

Grading: Based on letterform, overall spacing, sheet composition, professional standards and, where appropriate, creativity.


Student Name: __________________________________ Date: __________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2007 – Instructors: Buitrago, Calabria, Coyle, & Martin LAND 2210: Design Communication I

Project 2 Drafting, Dimensioning, Scales, and Layout exercise Assign: Tuesday, September 9, 2008, at the beginning of class. Due: Thursday, September 25, 2008, at the end of the class. Objective: To demonstrate semi-professional drafting ability through the use of line hierarchy, appropriate layout skills, employment of proper drafting techniques, and proper use of related materials and equipment. Display semi-professional skill in the documentation of construction details and related symbols via conventional drafting methods. Become familiar with the use of architectural and engineering scales and their function of reducing and enlarging drawings. Develop a familiarity with the reprographic process in producing end-product oriented graphics. Assignment: Reproduce the attached graphic samples using a combination of pencil and ink drafting tools on 11”x17” sheets of vellum. Strive for consistent line clarity, quality, and line hierarchy. All labels, drawing titles, and the title block shall be freehand lettering in pencil utilizing appropriate lead grade convention. The design layout (staking plan) shall be produced in ink along with one construction detail. All other work shall be produced in pencil. In studio: Develop sheet organization and sheet layout concepts, practice drafting techniques, lettering quality, line quality utilizing ink, and drafting with scaled lengths. Grading: Marks will be based upon overall neatness, sheet cleanliness, sheet organization, drafting accuracy, and line quality and clarity. End-product for a course mark shall be Xerox copies.


jbuitrago

Text Box

Scale: 1 1/2" = 1'-00"


Student Name: __________________________________ Date: __________________ University of Georgia College of Environment and Design School of Environmental Design LAND 2210: Design Communication I Project 3: Plan View Graphics (Conceptual Diagram Plan) Issue: Tuesday, September 30, 2008, at the beginning of the class. Due: Thursday, October 16, 2008, at the beginning of the class. SHEET # 1 Objective: To demonstrate semi-professional drafting ability and rendering skills in creating a conceptual land use diagram (functional diagram) based upon the given base map information, inventory of existing conditions plan, and site analysis plan of a residence. Assignment: Utilizing the given plan view information, create a concept plan using appropriate conceptual diagram symbols on 11x 17 trace paper at a scale of 1”-10’. This sheet must be done as an overlay of sheet number 2. Include appropriate labels on the plan such as title block information and legend at the bottom or right side of the sheet. Include your name and the drawing scale below the title (left justified) at ¼” in height below the title. Include originals in your portfolio. In studio: Create a practice sheet of conceptual diagram symbols to include but not limited to:

• active lineal symbols • passive lineal and non-lineal symbols • focal point • buildings

Produce symbols in black and white as well as in color. This sheet shall be 11x17 on trace paper and designed as an overlay of sheet number 2 (illustrative master plan).


SHEET # 2 and # 3 Objective: To demonstrate semi-professional drafting ability and rendering skills in creating an illustrative landscape plan utilizing semi-professional quality plan view entourage symbols. The given design is based upon the conceptual diagram plan of the same residence. Develop and execute plan view symbols that are accepted by the profession as appropriate graphic standards. Assignment: Utilizing the given plan view information, create an illustrative landscape master plan using appropriate landscape plan view entourage symbols on 11x 17 vellum at a scale of 1”-10’. Include labels at 1/8” height (in pencil) on the plan and create a title using block or architect style lettering at approx. ½” height (left hand margin justified) at the bottom or right side of the sheet. Include your name and the drawing scale below the title (left justified) at ¼” in height below the title. Create one plan using ink on vellum and one plan using pencil on vellum. Select one of the two plans to be xeroxed onto marker or bond paper for color rendering. Your color rendered plan (either marker or pencil) will become sheet number 3. Attached the trace overlay to sheet number 2 (black and white copy). All three plans must be able to graphically stand on their own merit. In studio: Create a practice sheet of landscape entourage symbols to include but not limited to:

• deciduous trees and shrubs • evergreen trees and shrubs • vehicles, furnishing, & people • rocks, boulders, and water • groundcovers and pavements (hardscape)

Include practice sheet in your portfolio Grading: Grades will be based upon landscape entourage symbols, readability, overall neatness, sheet organization, drafting accuracy, and line quality, clarity, and completeness of 3 sheets. These sheets are the photocopies of:

1. The rendered trace overlay conceptual diagram 2. The Black and white rendering 3. The Color Plan rendering


Student Name: __________________________________ Date: __________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Instructors: Buitrago, Calabria, Martin, & Pardue LAND 2210: Design Communication I PROJECT 4 FIRST PART - SECTION DRAWING Issue: Tuesday, October 21, 2008, at the beginning of the class. Due: Tuesday, November 11, 2008, at the beginning of the class. OBJECTIVE To create an accurately descriptive Section Drawing from your previous plan view drawing. GOAL To learn how to create a Section Drawing by using the standard graphics symbols used by professional Landscape Architects worldwide. To learn how to produce quickly but accurately descriptive section drawings. To learn the difference between a Section, Elevation and Section-Elevation Drawings. PROJECT REQUIREMENT First, you must look carefully at your previous plan view drawing and select one area that includes the pool, the deck-patio, and the house. Draw a straight line across that area. This line is your section line. You may want to print a black line copy of your original plan view drawing to overlay trace paper and sketch on it first. Once you complete your rough sketch of your section, and with your instructor’s approval, start drafting your section drawing using the standard graphics symbols. Look at building materials, deck, bricks, trellis, planters, as well as plant materials and people. Your section must be drawn at 3/16 inch equals 1 foot scale. Your final composition must include the following:

• A Title Block that includes your name, class information, project number, scale, graphic scale, and a simple border.

• Text/Labels By Hand (No computer typed text). • Planting symbols. • Buildings and site furnishing. • People on elevation view. • Proper use of line type/weight.

Your plan must be printed in an 11” x 17” black and white print and color rendered. End - product for a course mark shall be a Xerox color copy.


EVALUATION CRITERIA This project will be counted as 50 points (1/2 of the 25%) of your semester grade and will be evaluated on the following categories:

• Quality of Graphic Symbols (15 Points Maximum). • Rendering Capabilities (15 Points Maximum). • Completion of the Project (10 Points Maximum). • Labeling and Graphic Layout (5 Points Maximum). • Professionalism (5 Points Maximum).

EXAMPLE OF SECTION-ELEVATION DRAWING

Reid, Grant W. Landscape Graphics. New York: Whitney Library of Design, 1987.


Student Name: __________________________________ Date: __________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Instructors: Buitrago, Calabria, Martin, & Pardue LAND 2210: Design Communication I PROJECT 4 SECOND PART - ELEVATION DRAWING Issue: Tuesday, October 21, 2008, at the beginning of the class. Due: Tuesday, November 11, 2008, at the beginning of the class. OBJECTIVE To create an accurately descriptive Elevation Drawing from your previous plan view drawing. GOAL To learn how to create an Elevation Drawing by using the standard graphics symbols used by professional Landscape Architects worldwide. To learn how to produce quickly but accurately descriptive elevation drawings. To learn the differences between a Section, Elevation and Section-Elevation Drawings. PROJECT REQUIREMENT First, you must look carefully at your previous plan view drawing and select one area that best showcases your design. The next step is to visualize your self standing right in front of this area. Make sure that this view shows an elevation view of the house in the background. Start sketching this standing view using trace paper. Once you complete your rough sketch of your elevation, and with your instructor’s approval, start drafting your elevation drawing using the standard graphics symbols. Look at building materials, deck, bricks, trellis, planters, as well as plant materials and people. Your elevation must be drawn at 3/16 inch equals 1 foot scale. Your final composition must include the following:


• Text/Labels By Hand (No computer typed text). • Planting symbols. • Buildings and site furnishing. • People on elevation view. • Proper use of line type/weight.

Your plan must be printed in an 11” x 17” black and white print and color rendered. End - product for a course mark shall be a Xerox color copy.


EVALUATION CRITERIA This project will be counted as 50 points (1/2 of the 25%) of your semester grade and will be evaluated on the following categories:

• Quality of Graphic Symbols (15 Points Maximum). • Rendering Capabilities (15 Points Maximum). • Completion of the Project (10 Points Maximum). • Labeling and Graphic Layout (5 Points Maximum). • Professionalism (5 Points Maximum).

EXAMPLE OF ELEVATION DRAWING

Wang, Thomas C. Plan and Section Drawing. New York: Van Nostrand Reinhold, 1996.


Student Name: __________________________________ Date: __________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2007 – Instructors: Buitrago, Calabria, Coyle, & Martin LAND 2210: Design Communication I PROJECT 5 FIRST PART – LINEAR PERSPECTIVE DRAWING Assign: Tuesday, November 13, at the beginning of class. Due: Thursday, December 6, 2007, at the end of the class. OBJECTIVE To create accurately descriptive Perspective drawing from given plan and elevation views.

GOAL To learn how to create linear perspective drawings quickly and accurately. To learn the basics systems of One, Two, and Three point Perspective. PROJECT REQUIREMENT Using a previous elevation drawing as your basis, choose one linear perspective method to create a perspective drawing. You may choose between one, two, or three point perspective drawing techniques. Choose the method that best suit your rendering capabilities and time frame. You may want to print out a blue or black line copy of your original plan to be used as visual reference. Once you complete your rough sketch on trace paper, and with your instructors’ approval, start drafting your perspective using only one of the 3 different techniques shown to you in class. Your final composition must include the following:

• A Title Block that includes your name, class information, project number, and a simple border.

• Text/Labels By Hand (No computer typed text). • Planting symbols. • Buildings and site furnishing. • People. • Proper use of line type/weight. • Cars. • Shadows • Proper use of texture and hatches.

Your final drawing must be printed as an 11” x 17” black and white print and color rendered.


EVALUATION CRITERIA This project will be counted as 50 points of your semester grade and will be evaluated on the following categories:

• Quality of graphic symbols, line hierarchy, and perspective use (20 Points Maximum).

• Rendering capabilities, use of value, and color (20 Points Maximum). • Professionalism, layout, lettering, and copy quality (10 Points Maximum).

EXAMPLE OF A PERSPECTIVE DRAWING

Lockard, William Kirby. Design Drawing Experiences. New York: W.W. Norton & Company. 200.


PROJECT 5 SECOND PART PARALINE-AXONOMETRIC DRAWINGS

Assign: Tuesday, November 13, at the beginning of class. Due: Thursday, December 6, 2007, at the end of the class. OBJECTIVE To create an accurately descriptive axonometric drawing from your previous plan view drawing. GOAL To learn how to use paraline perspective methods to produce quick but accurately descriptive paraline drawings. PROJECT REQUIREMENT Using the previous plan and elevation drawings as your basis, you will create an axonometric drawing. You may want to print out a blue or black line copy of your original plan to be used as a base to overlay trace paper and sketch on it first. Once you complete your rough sketch of your designs, and with your instructors’ approval, start drafting your design using the techniques shown to you in class. Your final composition must include the following:


• Text/Labels By Hand (No computer typed text). • Planting symbols. • Buildings and site furnishing. • People on 3D View. • Proper use of line type/weight. • Cars. • Shadows • Proper use of texture and hatches.

Your final DRAWING must be printed as an 11” x 17” black and white print and color rendered. EVALUATION CRITERIA This project will be counted as 50 points of your semester grade and will be evaluated on the following categories:

• Quality of graphic symbols, line hierarchy, and accurate axonometric projection from plan view drawing (20 Points Maximum).

• Rendering capabilities, use of value, and color (20 Points Maximum). • Professionalism, layout, lettering, and copy quality (10 Points Maximum).


SCHEDULE Tuesday, November 13, 2007 Issue Project 5 & general lecture on

perspective concepts-demonstration. Thursday, November 15, 2007 General lecture on paraline drawings

concepts-demonstration. Tuesday, November 20, 2007 Studio Work Thursday, November22, 2007 Thanksgiving Break – No Class Tuesday, November 27, 2007 Studio Work Thursday, November 29, 2007 Studio Work Tuesday, December 4, 2007 Friday class schedule – Land 2010: Design Studio I Thursday, December 6, 2007 Project 5 is due before 5:00 PM ET EXAMPLE OF AN AXOMETRIC DRAWING

Sullivan, Chip. Drawing the Landscape. New York: John Wiley & Sons, Inc., 1997.


Student Name: __________________________________ Date: __________________ University of Georgia College of Environment and Design School of Environmental Design Fall 2008 – Instructors: Buitrago, Calabria, Pardue, Parker, & Martin LAND 2210: Design Communication I Project 6: My Entourage Issue: Tuesday, August 19, 2008, at the beginning of the class. Check Ups: Every Tuesday, commencing on Tuesday, September 16, 2008. Due: Tuesday, November 18, 2008, at the end of the class. Objective: In this project you will be creating your own personal and organized imagery tracing file and color source book. Goal: To create a personal tracing file by collecting images from “free” sources. To learn how to produce quickly but accurately descriptive renderings/drawing by using images from a tracing file source book. Assignment: In the next 10 weeks, you are going to collect images from; newspapers, magazines, ads, flyers, photocopies, internet, brochures, family photos, or any other free print media. Images can be in white and black and/or color. They can be photocopies, enlargements/reductions, or clip art paste/glue into letter size white paper. You are to organize your collection of images by the following topics-chapters:

• People • Light Poles • Benches • Trash receptacles • Playground equipment • Other Site Furnishing (Flagpoles, bike racks, etcetera) • Cars • Airplanes • Boats • Motorcycles • Bikes • Animals (Dogs, cats, birds, wild life, etcetera) • Flora (Trees, shrubs, groundcovers, etcetera) • Color schemes of plans, sketches, and/or section-elevations drawings from LA’s

magazines


Paste all of your images on letter size paper and use a 3 hole binder with index dividers (for each chapter) to organize your pages. Create a front cover art work (suitable for professional presentation-taste) and include the following information; your name, the title is-My Entourage, University of Georgia, School of Environmental Design, Land 2210 - Fall 2008, and your instructor name. Inside your 3 hole binder, create a title page with the same information as the front cover. Also, create an index page by chapters. Each Tuesday, at the end of class, your instructor will review your Entourage book, and will verify that you have added at least one page worth of imagery to each chapter. There are 14 chapters, so each week you will add 14 pages for a total of 140 pages by the end of the 10 week period. Each week is worth 10 points for a total of 100 points at the end of this assignment. It is the student’s responsibility to keep the Entourage book accessible in the Studio at all times. Failure to keep your Entourage in the studio for weekly reviews, will prevent earning your 10 weekly points. At the end of this assignment, the students will have a collection of imagery that can be incorporated into future renderings by using the tracing technique. The use of computer lettering (word document software) is allowed for the creation of the text of the front cover, index page, and title page. Grading: This project will be counted as 100 points (16.66%) of your semester grade and will be evaluated on a weekly basis during a 10 weeks period. Each week is worth 10 points for a cumulative score of 100 points. It will be graded based on the quality of the imagery, the quality of the assembling (pasting-gluing the clip art), completion, labeling, graphic layout, and professionalism.

- 1 - | L a n d s c a p e A r c h i t e c t u r e C o m p u t e r G r a p h i c s S t u d i o

University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Calabria, Cannady, Fischetti & Moore LAND 2220 - Design Communication II – Computer Graphics Assistant Professor: José R. Buitrago When: Tuesday & Thursdays, 8:00 A.M. thru 10:45 A.M. Where: Room 414- Computer Lab 2, 4th Floor Caldwell Hall Office: 407 Caldwell Hall Office Hours: Open Door policy or by appointment. Phone: (706) 583-0942 E-Mail: [email protected] PREREQUISITES: Land 2210 – Design Communication I COURSE DESCRIPTION: A continuation of Design Communication I, with emphasis on computerized drafting skills and basic understanding of computer aided graphic presentation literacy. COURSE OBJECTIVES:

Knowledge: • Understand traditional drafting conventions and representation graphic

communication as an inseparable part of the design process. • Apply graphic communication skills as a tool of persuasion through

composition, media, entourage and various orthographic techniques.

Skills: • Display semi-professional quality lettering and drafting. • Display a sense of line hierarchy and line quality. • Develop scaled drawings in pencil, ink and color. • Develop semi-professional quality work demonstrating sheet layout, title

blocks and reprographic methods.

Values: • Through the introduction and use of various design drawing tools, the ability

to communicate graphically, think visually, and utilize graphics as a part of the design process.


METHODS: This is a class that will use lectures, research, literature, projects and studio time to broaden knowledge and creativity for everyone in the class. Students are expected to satisfactorily complete all projects. Lab time is provided for students to work on projects and to receive assistance MATERIALS: Lab account, Bulldog Bucks, 2 zips, 2 CD’s, 2 memory keys or 1 external hard drive, sketch paper, pencils, presentation boards with clips and T-pins. Readings will be on reserve or copied. GRADING SYSTEM: Grading is based on the University System Percentage as follows: A = 100%-95% Excellent: Work reflecting superior design and graphic ability A- = 94.9%-90% logically thought out and presented. Changes or revisions would be minimal. B+ = 87%-89.9% Good: Work representing a good understanding of the theory and B = 83%-86.9% concepts involved in the project but should be slightly reworked. B- = 80%-82.9% C+ = 77%-79.9% Fair: Work which indicates a satisfactory understanding and C = 73%-76.9% execution of the project. Moderate revisions would be necessary. C- = 70%-72.9% D = 60%-69.9% Poor: Work which in incomplete and in the design process and project solutions are poor or inconsistent. Work shows lack of comprehension of subject matter and would require extensive

revisions. F = 59.9% Unacceptable Students who fall behind in class work are STRONGLY encouraged to withdraw from the class. A grade of incomplete will only be given in extenuating circumstances. GRADING: Grading will be based on performance in the following projects/assignments:

Assignment 1 AutoCAD 100 Points Assignment 2 Photoshop Rendering 100 Points Assignment 3 Sketch Up 100 Points Assignment 4 CAD Poster & DTM 100 Points __________________________________________________________ Total 400 Points


Each student will receive a problem statement outlining the requirements and details for each of the above assignments. Projects have been designed to present a realistic professional challenge. REQUIRED TEXBOOK:

Buitrago, Jose R. and Ashley Calabria. Computer Graphics for Landscape Architects: An Introduction. Clifton Park, NY: Delmar Cengage Publishing Inc., 2008. ISBN-13: 978-1-4180-6525-6

CLASS STANDARDS: Attendance: Is mandatory and a record will be kept each class meeting. At the beginning or end of each class period, it is the student’s responsibility to sign the attendance sheet to receive full credit. Failure to sign in will count as an unexcused absence. In addition, habitual tardiness (arriving 15 minutes after class commence) will lower your grade at instructor’s discretion. Each student has three “sick” days during the entire semester. These days are intended to be used when you cannot attend class because of illness. I do not require a medical excuse; instead you are allotted three days to get yourself better. The fourth absence (regardless of reason) will reduce your final grade by one letter grade. The fifth absence will reduce your final grade by two letter grades. If you have a medical condition that requires you to miss class more that three times, you must discuss this with me ahead of time. A student with excessive absences (six or more missing days) will be administratively withdrawn from the course.





reasons.” 2002 -2003 UGA Undergraduate Bulletin, Page 40

Students are expected to attend all studio classes and are responsible for all material covered during class meeting times. Studio Rules and Etiquette: During studio classes the following will not be permitted; use of tobacco in any form, playing radios or tape/CD players (including use with ear phones), Laptop Computers, and I-Pods. While working in the studios outside of class time, radios and tape/CD players may be used only with earphones. These are departmental policies and apply to all students in the landscape architecture program. Please observe common courtesy when working with others in the studio, particularly while other classes are being conducted.


Due Dates, Deadlines and Presentations: Assignments must be submitted on the stated due date, time, and place. Any project turned in late, up to 24 hours, is automatically marked down a full letter grade. Any exception must have prior written approval from the SED Director no less than 24 hours before project is due. Special forms are available from Degree Program Specialist in Room 602 Caldwell Hall to request an extension. Work missed due to illness is required to be submitted no later than one week from the student’s return to class. The Ramsey Center Nurse Stamped illness excuses are not longer acceptable by UGA-SED. The acceptable medical illness excuse is a typed, letterhead, dated, with phone - address, Doctors’ letter, explaining that the student was unable to complete the project due to sickness. Special Circumstances: Other situations (i.e., medical emergencies, family death, etc.) will be dealt with on a case by case basis between the student and the instructor outside of class time, or through the Office of Student Affairs - Student Support (706) 542-8220 or www.uga.edu/studentaffairs/students) located in 115 Holmes/Hunter Academic Building. Arrangements will be made in writing and signed by both parties. Please do not attempt to discuss late work or absences during studio. Dress Code: Please dress professionally. During final projects presentations, students will be expected to wear professional dress. During studio; casual cloths suitable for work in an office will be expected. In others words, caps off and mid-drifts covered. Eight o’clock classes can place time constraints on preparing ones self for the day. So, please allow adequate time in your morning to negotiate campus traffic, park, ride the bus, etcetera, and arrive in class on time and prepared to have a great day. Cell Phone Use: Cell phone use during class is considered a public distraction. There will be ZERO tolerance of cell use in any fashion. All cell phones must be turned off during studio and placed out of sight in back packs, purse or lockers. If they disrupt the class by ringing, singing, jiggling or gyrating they will be confiscated and turned into the dean’s office. Work Completion: Students are required to keep all work completed during the semester until the end of the term in order to review progress and aid discussions if necessary. Make Up exams or projects will only be administrated for documented and unavoidable excused absences including hospitalization and family crisis. Please communicate your situation to your instructor via e-mail prior to missing an assignment or exam if possible. Sketchbooks: Keeping a sketchbook during the semester is highly recommended. Although students will still be expected to continue to use sketching to improve graphic skills and explore design ideas, sketchbooks will be used to begin a more critical record of the world that surrounds us and to develop process graphics. Equipment: Students will be expected to have available for use all equipment and materials purchased for Graphics I and II. Please inventory your equipment and supplies before classes begun and purchase anything missing or depleted.


Documentation of Student’s Work: Students are encouraged to photograph or otherwise document all projects at the end of the semester for possible inclusion in their student portfolio. According to UGA-SED policy; students’ class work becomes intellectual property of the School. The University, the School, and the instructor reserved the right to keep your work without the student’s approval. Studio Work: All students are encouraged to work together in the studio, outside class time rather than at home. You will each benefit from the interaction with classmates and upperclassmen, if you take advantage of this opportunity. Typically, students who produce superior work fully participate in the studio environment. Studio Environment: Please do everything you are able to make our studio a pleasant, exciting place where fun inspires you without hindering other’s concentration! Daily Quiz: Can occur at any time, at instructor’s discretion. Disabilities: Students with special needs due to learning or physical disabilities should contact the Office of Student Affairs - Disability Resource Center (706/542-8719 or www.drc.uga.edu) located in 114 Clark Howell Hall. Academic Honesty: All students are responsible for maintaining the highest standards of honesty and integrity in every phase of their academic career. The penalties for academic dishonesty are severe; ignorance of what constitutes dishonesty is not an acceptable defense. NOTE: Calendar and syllabus are subject to changes. SED reserves the right to select and retain possession of digital copies of all written and graphic student work. All SED policies and procedures applicable to studio facilities and computer lab operation will be enforced. Please read and observe all these policies. Studio and labs are monitored by camera to insure your safety and compliance.


Student Name: __________________________ Date: ______________

University of GeorgiaCollege of Environment & DesignSchool of Environmental DesignSpring 2008

Land 2220 - Design Communication IIInstructors: Buitrago, Calabria, Cannady, Fishetti and Moore

GENERAL SCHEDULESubject to revisions at discretion of instructors.

Week Tuesday ThursdayJanuary 8, 2008 January 10, 2008

1 Syllabus CAD LectureIssue Project 1January 15, 2008 January 17, 2008

2 Cad Lecture CAD Lecture

January 22, 2008 January 24, 20083 CAD Lecture Lab Work Day

January 29, 2008 January 31, 20084 Lab Work Day Due Project 1 at end of class

February 5, 2008 February 7, 20085 Issue Project 2 Photoshop Lecture

Photo Shop LectureFebruary 12, 2008 February 14, 2008

6 Photo Shop Lecture Lab Work Day

February 19, 2008 February 21, 20087 Lab Work Day Due Project 2 at end of class

February 26, 2008 February 28, 20088 Issue Project 3 Sketch Up Lecture

Midterm - Sketch Up Lecture


Week Tuesday ThursdayMarch 4, 2008 March 6, 2008

9 Sketch Up Lecture Sketch Up Lecture

March 11, 2008 March 13, 200810 Spring Break-No Class Spring Break-No Class

March 18, 2008 March 20, 200811 Lab Work Day Lab Work Day

March 25, 2008 March 27, 200812 Due Project 3 at end of class Issue Project 4

CAD Poster LectureApril 1, 2008 April 3, 2008

13 CAD Poster Lecture DTM Lecture

April 8, 2008 April 10, 200814 Lab Work Day Lab Work Day

April 15, 2008 April 17, 200815 Lab Work Day Due Project 4 at end of class

April 22, 2008 April 24, 200816 Issue Project 5 Due Project 5 at end of class

PDF Lecture Last Class MeetingAril 29, 2008 April 30, 2007

17 Reading Day-No Class Final Exam To Be Announce


Student Name: _________________________________ Date: ___________________ University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Calabria, Cannady, Fishetti & Moore LAND 2220 - Design Communication II – Computer Graphics ASSIGNMENT 1 – Auto CAD Due: Thursday, January 31, at the end of the class. OBJECTIVE: In this project you will be using AutoCAD 2008 to create a document of 3 sheets with drawings typical to our profession. The purpose of this document is to provide experience with the various commands and sheet layouts in AutoCAD and practice the graphic representation associated with the design process. PROJECT REQUIREMENTS: You will be creating a series of AutoCAD sheets based on the provided plan. The drawings should be in black and white except for images. Your final project will be plotted out on 3 sheets of 24”x36” bond paper as described below and 3 sheets of 11”x17” (NTS) for your portfolio.

Sheet 1 1 section-elevations drawn in AutoCAD A minimum of 2 color images and 3 hand or tablet drawn sketches illustrating design ideas, titles of images go underneath each left justified Sheet 2 A simple site layout (with dimensions) of the backyard deck Minimum of 3 details, drawn in AutoCAD, to scale, titles underneath left justified The included list of notes Plant list generated in Excel Sheet 3 The final project with labels

Each sheet needs a consistent border and title block. In the title block you need to include: sheet numbers, sheet title, date, a project name and location, a client name, your name, The University of Georgia, School of Environmental Design, Professor Buitrago, and spring 2008.


Each drawing in plan needs a north arrow and each drawing to scale needs a scale (which will vary from sheet to sheet). EVALUATION CRITERIA: This project will be counted as 100 points (25%) of your semester grade and each sheet will be evaluated on the following categories:

• Completeness of the Assignment. • Accuracy of the drawing and images. • Proper use of scales. • Creative use of graphic symbols. • Sheet organization and layout. • Overall professionalism of the entire document.

EXAMPLE OF ASSIGNMENT 1-AUTO CAD Sheet 1

Sheet 2

Sheet 3



University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Calabria & Moore LAND 2220 - Design Communication II – Computer Graphics ASSIGNMENT 2 – ADOBE PHOTOSHOP CS2 – AUTO CAD RENDERING Issued: Tuesday, February 5, 2008, at the beginning of the class. Due: Thursday, February 21, at the end of the class. OBJECTIVE: In this project you will be bringing an AutoCAD drawing into Adobe Photoshop CS2 to render. This is a typical series of events for graphic representation in landscape architecture. This project is designed to familiarize you with a variety of Photoshop commands for rendering and printing. GOAL: A successful outcome of this assignment is the creation of a computer rendering drawing that looks and feels hand drawn on a traditional rendering format. The goal is to be able to convince people to believe that your computer generated rendering was created by hand. PROJECT REQUIREMENTS: A successful outcome for this assignment requires creating one-illustration Poster (24” x 36”) that documents:

• Photoshop rendering techniques • A final plan in color that is plotted to scale • Include artful border and basic title block information (Name, Scale, North

Arrow, Etc.) You are also required to choose from one of the following traditional rendering formats

• Colored Pencil • Air Brush • Pastels • Water Color • 19th Century LA (Water Color on Sepia)

You will be graded on your over all ability to manage your file sizes and formats. You will need to save this Photoshop image as a JPEG and PDF file. Save a version with layers as a PSD (Photoshop document). Flatten all layers and save as a PDF document to print. Print the final out in color on 24”x 36”paper from Adobe


Acrobat. Also, print another copy of your plan at 11’x17” (Tabloid) size for your record and/or Portfolio. EVALUATION CRITERIA: This project will be counted as 100 points of your semester grade and each sheet will be evaluated on the following categories:

• Completeness of the Assignment. • Accuracy of the drawing and images. • Proper use of scales. • Creative use of graphic symbols. • Rendering quality, readable colors, and variety. • Overall professionalism of the entire document.

EXAMPLE OF ASSIGMENT 2:


University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Calabria & Moore LAND 2220 - Design Communication II – Computer Graphics ASSIGNMENT 3 – Sketch Up Issued: Tuesday, February 26, 2008, at the beginning of the class. Due: Tuesday, March 25, 2008, at the end of the class. OBJECTIVES: In this project you will be using an AutoCAD base map in SketchUp to create a small landscape in 3D. This project is designed to demonstrate the value of a 3 - dimensional image. GOAL: A successful outcome of this assignment is the creation of a 3 - dimensional drawing that showcases and communicates the best features of the design. PROJECT REQUIREMENTS: Using the residential design project you did in AutoCAD, you will be creating a 3D model of one of the following areas:

• The front lawn and porch • The back lawn and terrace

Regardless of which area you select, include the landscape and architecture structure and only enough background information as you need to make your project relate to the over all site. Excessive background information is going to create a huge file size and bog down the computer. Your final project should include:

• The house • Patio chairs or other outdoor furnishings • People • Autos (at front driveway) • Plants • Lighting • Deck, sidewalk, stairs, rocks, and any other structure as need it

You will turn in five 17”x11” color prints of your selected area. One print will show a shadow study for a specific geographic location. The other four prints will show all sides of the area in different formats as shown in class.


EVALUATION CRITERIA: This project will be counted as 100 points of your semester grade and each sheet will be evaluated on the following categories:

• Creative use of graphic symbols. • Overall Professionalism. • Quality of illustrative investigation and innovation. • Quality of the final project as a communication tool (readability). • Completeness of the assignment.

EXTRA RESOURCES: For more information: www.sketchup.com - training – video tutorials www.sketchup.com – education – higher education - gallery WORK EXAMPLES:


University of Georgia College of Environment and Design School of Environmental Design Spring 2008 – Instructors: Buitrago, Calabria & Moore LAND 2220 - Design Communication II – Computer Graphics ASSIGNMENT 4 – AutoCAD, Photoshop, and Sketch Up Issued: Thursday, March 27, 2008, at the beginning of the class. Due: Thursday, April 24, 2008, at the end of class. OBJECTIVES: In this project you will be using AutoCAD 2008 for drafting and scaling, Photoshop CS2 for rendering and Sketch Up for 3D modeling to create a document of 3 sheets with drawings typical to landscape architecture. GOAL: A successful outcome of this assignment is the creation of a 3 - dimensional drawing that showcases and communicates the best features of the design. PROJECT REQUIREMENTS: You will be creating a series of AutoCAD sheets based on the provided plan. The drawings should be printed in black and white except for sheets with color images. Your final project will be plotted out on 3 sheets of 24”x36” bond paper as described below and 3 sheets of 11”x17” (NTS). Also, you are required to submit to your instructor a CD containing the following pages saved on a PDF format. Please include an artful label on your CD casing with your name, class, instructor name, semester, and project number. Sheet 1:

• The AutoCAD project with your own symbols, labels with leader lines/arrows, and drawn at 1/4” = 1’-00” Scale.

• Planting List with quantities/species/description Sheet 2:

• One Photoshop rendering of the entire plan at 1/4” = 1’ – 00” scale with shadows/peeps/cars/etc.

• One SketchUp detail (not the entire plan) view of either the fountain or retaining-planting walls, nts.

Sheet 3:

• Two construction details, drawn in AutoCAD, proper dimension lines-leader lines/arrows, reference symbols to plan, and to scale that best suit the page.


• One section-elevation, drawn in AutoCAD, plan reference-cutline, titles underneath left justified, to scale that best suit the page.

Each sheet needs a consistent border and title block. In the title block you need to include: sheet numbers, sheet title, date, a project name and location, a client name, your name, The University of Georgia, School of Environmental Design, Professor Buitrago, and Spring 2008. Each drawing in plan needs a north arrow and each drawing to scale needs a scale (which will vary from sheet to sheet). EVALUATION CRITERIA: This project will be counted as 100 points of your semester grade and each sheet will be evaluated on the following categories:

• Completeness. • Accuracy. • Scales. • Symbols. • Organization. • Overall professionalism of the entire document. • Completeness of the assignment.

EXTRA RESOURCES: For more information: www.sketchup.com - training – video tutorials www.sketchup.com – education – higher education – gallery

OASIS S I N G E R I S L A N D

i C P a l m B e a c h C o u n t y , F L a

Oasis Entry Oasis Pool-Beach View Oasis Rear View

SHEETS LOCATION MAP

OVERALL SITE PLAN - MASTER UNIT SPECIFICATIONS ALTERNATE ENTRY PAVING GRADING 1 DRAINAGE ENTRY PAVING PLAN GRADING I DRAINAGE COURTYARD PLAN POOL LAYOUT DIMENSION PLAN POOL DRAINAGE 8 GRADING PLAN DETAILS DETAILS FOUNTAIN PLAN & DETAIL ENTRY SIGNAGE PLAN & DETAIL ENTRY PLANTlNG PLAN

COURTYARD PLANTING PLAN POOLDUNE PLANTING PLAN PLANTING LIST & SPECIFICATIONS ENTRY IRRIGATION PLAN COURTYARD IRRIGATION PLAN POOLDUNE IRRIGATION PLAN IRRIGATION SPECIFICATIONS ENTRY LIGHTING PLAN COURTYARD I,IGHTNG PLAN POOL LIGHTING PLAN TRELLIS 8 FOUNTAIN DETAIL TRELLIS & FOUNTAIN DETAIL TRELLIS & FOUNTAIN DETAIL

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Curve Ledge Stone Wall, Assemble in Modules, Finish to match Gate House Stone Cornice Color.

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E V E R G R E N E 0 1' 2' 3' 4'

Scale: 3/16" = 1' - 0" Palm Beach Gardens - Palm Beach Co., FL Project: 288 Evergrene File Name: 288-L3-Donald Elevationdwg File Date: JB.04.15.02 Entry Sign Elevation

Lucid0 b Associates s r L l a r r l i"rr P ~ C ~ C C O r l a n d r ~ L4-Hood Road Entrance Plan ]',and Planning / Landscape Architecture 322 Gcoigia r\uinuc, Sma% I=,. 31994 ph. (561) 220-2100, Fax (561) 223-0220

I

Median Sign (see detail) -I-, Street Light (Typ.), final location to be determined by electrical engineer

Hood Road

Handicap Ramp 7

o 5' 10' 2u 30 \@ Palm Beach Gardens - Palm Beach Co., FL Scale: 1" = 20'-0" Project: 288 Evergrene File Name: 288-LA-HoodRd Plan.dwg File Date: JB.04.15.02

Entry Signage Plan

Lucido & Associates S r a r a r r I ' o r r P i c r c c O r l a n d o

],and Planning / I-andscape /ttctutecture L5-Hood Road Elevation View 322 Gmr& rlucnuc, F I 34994 Ph. (561) 220-2100. F g x (561) 223-0220

Standard FPL Fixture, Hunter Green Color,

PLAN VIEW T.B.D. by Owner.

Cast Stone Wall, Sand Stone Finish to Installed w/ automatic ligth sensor bunner match Gate House Stone Cornice Color.

Large Brass Gas Light by Gaslite Amenca.


Typical CMU Wall with mortar ultured Stone, Finish to match Gate House Walls.

Typical CMU Wall w/ Stucco Finish to match Gated House Stone

Standard FPL Fixture, Hwlter Green Color, T.B.D. by Owner.

Typic4 W m Moin laation la: plmq for Wola hldn Cuing &location bcwm mlumna. Sm e n g i n d o plml & lcctionl Tor daailcd Worn& SewerinTomMion.

E V E R G R E N E 0 2' 4' 6' 8'

Scale: 3/32" = 1' - 0" Palm Beach Gardens - Palm Beach Co., FL Project: 288 Evergrene File Name: 288-L5-HoodRd Elevatioadwg File Date: JB.04.15.02 Entry Sign Elevation

Lucido 8 Associates S r t ' s r t / ;a r t P i r r s r O r l a n d o L6-Military Trail Plan View Iand Planning / Landscape Architecture 322 Gca%ia hvcnuc, Smm. N 34994 Ph. (561) 220-21M7, Fnx (561) 223-0220

Water Main ~ y p . ~ i l i t a r ~ rail \ /

[. Sight Triangle Typ.

0 5' 10' 20' 30' '@ Palm Beach Gardens - Palm Beach Co., FL Scale: 1" = 20'-0" Project: 288 Evergrene File Name: 288-L6-Military Plan.dwg File Date: JB.04.12.02

Entry Signage Plan

Lucido & Associates S r o a r r l io r r P i c r c c O r l a n d o

Idand Planning /landscape Architecture L7-Military Trail Elevation View 32.2 ccogia rvcnuc, smart, n. 34994 Ph. (561) 220-2100, Fax (561) 223-0220

I Presene Existing Vegetation

/ /--Laurel Oak Typical Florida Planting Buffer Sidewalk

Laurel Oak Standard FPL Light Fixture, Hunter Green Color,

rEntrance Signage T.B.D. By Owner.

Character Oaks / / F i ~ i ~ r

~ u f f e r a ~ n t r a n c e Signage (Typ.) - 2 0 ' ~ a v e m e n t ~ ~ e d i a n ~ 2 0 ' Pavement Entrance Signage ( ~ y p . ) A B u f f e r

5' sidewalk1 l~reen Easement Green ~asementl l5' Sidewalk

E V E R G R E N E

Project: 288 Evergrene File Name: 288-L7-Military Elevation.dwg File Date: JB.04.15.02 Entry Sign Elevation

Lucido CI Associates S r a a r r l z o r r P i c r c c O r l a n d o

Iand Planning / 1,andscape Architecture L11 -Corner Monument Elevation View 322 Georgia Avcnuc, Stuart, Fi 34994 Pfi. (561) 220-21Ml. Fax (561) 223-0220

Ledge Stone Column Cap, Finish to match Gate House Stone Cornice Profile & Color. Raised Brass Logo mounted on a Cast Stone Plaque w/ Sand Stone Finish to match Gated House Stone Cornice Color.

Typical CMU Column with mortar Cultured Stone, Finish to math Gate House Walls.

Ledge Stone Wall Molding, Finish to match Gate House Stone Cornice Color & Profile.


I I I 1 I \ - Typical CMU Wall with mortar \ \ \---- Typical CMU Column w/ Stucco Finish

ELEVATION VIEW Cultured Stone, Finish to match Gate House Walls.

-stucco Finish to match Gated House Stone Cornice Color.

\ -stucco Finish to match Gated House Stone Cornice Color. - Typical CMU Wall w/ Stucco Finish

E V E R G R E N E 0 1' 2' 4'

Scale: 3/16" = 1' - 0" Palm Beach Gardens - Palm Beach Co., F1, Project: 288 Evergrene File Name: 288-Ll l-Comer Minument.dwg File Date: JB.04.15.02 Comer Monument

, Lucido B Associates

-saw Palmetto Existing Vegetation to be Preserved =E8:Lcover planting

E V E R G R E N E U U 0 1' 2' 4'

Scale: 3/16" = 1' - 0" Palm Beach Gardens - Palin Beach Co., FL Project: 288 Evergrene File Name: 288-L12-Comer Minument.dwg File Date: JI3.04.15.02 Comer Monument

Lucido C ) Associates S t ~ ~ s r r l i o r t P i r r c r . O r l a n d o

],and Planning / 1,andscape Architecture L 13-Alternative Corner Monument Elevation 322 Gcagia ducnuc, Smrt, F I 34994 Ph. (561) 220-21(X), FAX (561) 223-0220

PLAN VIEW

Ledge Stone Column Cap, Finish to match Gate House Stone Cornice Profile & Color. Raised Brass Logo mounted on a Cast Stone Plaque wl Sand Stone Finish to match Gated House

Typical CMU Column with mortar Cultured Stone, Finish to math Gate House Walls.

Ledge Stone Wall Molding, Finish to match Gate House Stone Cornice Color & Profile.


match Gate House Stone Profile & Color.

31-2" -$- ELEVATION VIEW

Cultured Stone, Finish to match Gate House Walls. \ - Stucco Finish to match Gated

House Stone Cornice Color. -stucco Finish to match Gated

House Stone Cornice Color. - Typical CMU Wall wi Stucco Finish

E V E R G R E N E Y U 0 1' 2' 4'

Scale: 3/16" = 1' - 0" Palm Beach Gardens - Palm Beach Co., FL

Project: 288 Evergrene File Name: 288-Ll3-Comer Minument.dwg File Date: JB.04.15.02 Comer Monument

Lucido & Associates S I I I P ~ I I 1 o r r P i c r c c O r l a n d o

l a d Planning / 1,andscape Architecture L14-Comer Monument Planting Elevation 322 Gcogia A umuc, Stuart, FI, 34 994 Ph. (561) 220-2109, Fnx (561) 223-0220

-saw Palmetto Existing Vegetation to be Preserved

1 Hedge

Groundcover planting

o -0 Scale: 1' 3/16" 2, = 1' 4' - 0" 8'

Palm Beach Gardens - Palm Beach Co., FL

E V E R G R E N E Project: 288 Evergrene File Name: 288-L14-Corner Minument.dwg File Date: JB.04.15.02 Comer Monument

,\ Lucido GI Associates dJ\\ S ' c t z a r r . l ; u r t P i c r c c O r l ~ n d u

~ ; m d Planning / 1,andscape Archirecture L 15-Corner Monument Planting Elevation "g yv 322 Gcorpl ilvcnuc, Stuart, FI. 34994 Ph. (561) 220-2100. Fax (561) 22.3.0220

L ~ x i s t i n ~ Vegetation to be Preserved Groundcover planting

E V E R G R E N E Y' 0 1' 2' 4'

Scale: 3/16" = 1' - 0" k"j Palm Beach Gardens - Palm Beach Co., FL

Project: 288 Evergrene File Name: 288-L15-Comer Minument.dwg File Date: JB.04.15.02 Comer Monument

Lucido 6.I Associates S r z r a r r I ' o r r P i r r c r O r l a n d o

Iand Planning / 1,andscape Architecture Ll6-Comer Monument Planting Elevation 322 Gcorgir rivcnuc, Ihrq Fl 34994 Ph. (-561) 220-21ih9, Fax (561) 223-0220

-saw Palmetto Existing Vegetation to be Preserved

L ~ e d ~ e Groundcover planting

o -0 Scale: 1' 3/16" 2' = 1' 4' - on R' Palm Beach Gardens - Palm Beach Co., FL

E V E R G R E N E

Project: 288 Evergrene File Name: 288-L16-Comer Minumentdwg File Date: JB.04.15.02 Comer Monument

I

Standard FPL ILight Fixture, Hunetr Green Color, T.B.D. By Owner.

Lucido & Associates S r u a r r . l i o r r P i c r c r . O r l a n d o

],and Planning / 1,andscape Architecture L 1 8-North Neighborhood Entry Columns 322 Cicorgia iiucnuc, S m q F,, 34994 Ph. (561) 220-21(M, F ~ x (561) 223-0220

PLAN VIEW

4'-2"

I T.O.W. 6'-6" T.O.W. 6'-6" -I

Landscape Area 1 L Pavement 1 L Landscape Area

E V E R G R E N E

Project: 288 Evergrene File Name: 288-Ll S-North Neighborhood.dwg File Date: J8.04.15.02 Entry Columns

Lucido & Associates S c t t a r r I . o r r P i r r c r O r l a n d o

l a d Planning / Jsndscape Architecture L20-South Neighborhood Entry Columns 322 Cicotgia /\vcnuc, S t u q FJ. 34994 Ph. (561) 220-2100, Fax (561) 223-0220

PLAN VIEW Standard FPL Light Fixture, Hunetr Green Color,

Ledge Stone Column Cap, Finish to match Gate House Stone Cornice Profile & Color.

I

I

Planter Urn, T.B.D. By Owner

Ledge Stone Column Cap, Finish to match Gate House Stone Cornice Profile & Color.

Typical CMU Wall with mortar Cultured Stone, Finish to match Gate House Walls.

Standard FPL Light Fixture, Hunetr Green Color, T.B.D. By Owner.

T.O.W. 6'-6" ''

E V E R G R E N E 0 I ' 2' 3' 4'

Scale: 3/16" = 1' - 0" Palm Beach Gardens - Palm Beach Co., FL Project: 288 Evergrene File Name: 288-L20-South Neighborhood.dwg File Date: JB.04.15.02 Entry Columns

Documents

Portfolio Jose R. Buitrago