Texas Tech University

Architectural Design III

Arch 2503 · 7 Hybrid, 2 Online

Instructor: Nate Imai

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This studio frames architecture as a medium capable of engaging and responding to multiple scales of inhabitation. The fragment and the whole are to be understood as equal parts in the architectural proposal and opportunities for design lie within the coordination of systems that define spaces for occupation. Lectures, tutorials, group work, critiques, and reviews will serve as means to situate the explorations in studio within the larger discourse of architecture.

Tectonics will be the primary lens for developing an understanding of these additional layers of architecture. Tectonic is defined as ‘of or pertaining to building, or construction.' Within the discipline, tectonics should be understood to mean the way that the elements of a building come together in support of a spatial, formal, sequential and/or aesthetic agenda. While students in this studio will not be expected to specify specific materials or systems of construction, they will be expected to demonstrate an understanding that architectural form is not monolithic, but rather, is the synthesis of multiple interdependent parts.

Through the design and editing of their tectonic systems, students will be prompted to make decisions regarding the qualitative nature of their inhabitable spaces: above vs. below, perimeter vs. interior, solid vs. void, poche vs. non-poche, etc. The project will be sited within an urban context – successful building proposals will apply organizational and programmatic principles in the design of a structure responsive to a specific site's physical context and latent atmospheres.

Class Modality

This studio will be organized into (9) sections – (2) online sections and (7) hybrid sections.

Online sections will meet online Monday, Wednesday, and Friday.

Hybrid sections will meet face-to-face (1) day per week. Hybrid sections will meet online on the other (2) days of the week. The schedule for face-to-face instruction will be as follows:

  • Monday: (2) hybrid sections meet face-to-face
  • Wednesday: (3) hybrid sections meet face-to-face
  • Friday: (2) hybrid sections meet face-to-face

Architectural Representation III

Arch 2101 · Online

Instructor: Nate Imai

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Architectural Representation III will build upon foundational techniques and methods introduced in the first-year courses Architectural Representation I + II. Taught in conjunction with ARCH 2503, ARCH 2101 will be structured as a series of workshops and assignments intended to advance and articulate design conversations in Architectural Design Studio III and develop a critical attitude toward representational techniques and methods.

Digital craft and accuracy will be a point of emphasis with the intention to develop a coherent dialogue between design and representational processes within digital media. Relationships between orthographic and perspectival drawing will be examined and interrogated.

Two assignments that will occur in tandem to but are separate from Architectural Design Studio III will constitute the graded deliverables for this course: 1) the drawing of a digitally executed section perspective, and 2) the layout of a digital booklet of students' studio work. These assignments will be evaluated on the basis of students' formal sensibility, technical ability, conceptual understanding, and professional participation. Workshops over the course of the semester will be dedicated to supplementing the execution of assigned deliverables for Architectural Design Studio III or assigned deliverables for Architectural Representation III.

History of World Architecture I

Arch 2311 · Online

Instructor: Clifton Ellis

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This course introduces the history of architecture from pre-history through the Renaissance, focusing on the aesthetics and theories associated with that architecture. Each culture we study has a distinct and sometimes remarkably similar aesthetic, often based on what historians term the “classical rules of composition” that transcend time and space. These rules of composition originate from several sources, first and foremost of which is geometry. The rules are supplemented by aesthetic traditions that mark the ‘classical' as an expression of a particular culture. Thus we see continuity in the Western tradition and parallels between Western and non-Western traditions, simultaneously combined with variations that we can identify as distinctly regional and national variations. A still more significant example of continuity and variation exists in the temples and cities built by the Pre-Contact natives of North and South America. For example the earthen pyramids that the Woodland peoples built in North America share a form and geometry almost identical to the stone Pyramids that the Maya built in Central America. Moreover, the geometries, scale, and proportion are almost identical to those found in monumental works of Western architecture.

This course teaches the methods by which to identify and analyze the continuities and variations of aesthetics. We will focus on the Western tradition, and we will examine non-Western aesthetics developed during the same periods. This course also provides students with a survey knowledge of how aesthetics are a product and the cultural forces – social, political, economic, aesthetic, and religious – that are manifest in the architecture of these eras. Students in this course will develop the language and tools with which to explore, understand, and appreciate the aesthetics and symbolism of various architectural traditions.

Architectural Technology I: Matter

Arch 2351 · Online

Instructor: Christopher Esper

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Survey of the development of world architecture from pre-history to the Baroque.

Architectural Technology I will focus on the introduction to architectural materials and their methodology -- both in concepts of materiality and systems of construction. The course will engage students broadly on two fronts. Part I – ‘Identify' in which students will learn about the individual materials that go into building construction such as Wood, Masonry, Concrete, Steel & Glass in service of Part II – “Combine;” where we will look at how various materials come together to produce architectural enclosure, structural assembly and how structure, materials and the methods and means by which they are selected, have deep aesthetic, economic, social and operational implications.

History of Architecture III: Modern Architecture

Arch 3313 + 3313-H · Online

Instructor: Brian C.R. Zugay

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This course critically surveys the history of modern architecture from its origins in the late-nineteenth century through to the mid-twentieth century in Europe, the United States, and globally. Emphasis is placed on understanding the motivations, needs, and aspirations of the modern movement, as articulated in the buildings, projects, and writings of its practitioners.

Throughout the semester, we will tackle just what it means to be “modern” and explore and dissect what we have inherited and understand to be “modern architecture.” Fundamentally, modernism represents a break from the architectural traditions of the past and the conscious desire to develop an architecture of one's own time. But by no means was this a homogeneous movement. The later-nineteenth and early-twentieth centuries were an immensely rich period of individual and group investigation and experimentation into the very nature and meaning of architecture. Architects actively explored materials, form, structure, and spatial relationships in new ways, while often pursuing different political, social, cultural, and aesthetic agendas.

The course examines architecture and architectural ideas in context in order to better understand intention and meaning. We will also explore how these architectural ideas spread and gained momentum. Attention is given to the manifestoes, writings, lectures, and commentary that announced and circulated these ideas, as well as the modern phenomenon of the exhibition. Publication and exhibition were the principal vehicles for the transmission of modern architectural ideas, framed the discourse, and introduced a new type of connectivity among architects internationally.