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Students interested in the minor should contact the minor adviser. Minor adviser: Eric Ellingsen eric. The minor in landscape architecture is for students who will be receiving either a Bachelor of Science or Bachelor of Arts with a major in Architecture. The minor explores issues that are vital to architecture and urban design — such as vegetation strategies and water management — at local and regional scales.

Interested students should contact the minor adviser. Minor adviser: Petra Kempf petra. Open to students pursing the Bachelor of Science or Bachelor of Arts in Architecture, the minor in urban design provides opportunities to develop skills as an architect through direct involvement with the community. Theory-based course work focuses on urban design policy, sustainable development, and urban infrastructure.

Interested students should contact the designated minor adviser. Students may choose two of any A49 Urban Design courses offered.

Elective options will vary each semester. The minor adviser can help determine courses that best meet the student's area of interest. In the event that a required course is not offered in a given semester or if a student has irreconcilable scheduling conflicts with their required major courses or other minor courses, an appropriate alternate course may be substituted with approval from the minor adviser.

Students should check the current course listings carefully to verify their eligibility to enroll in courses that have specific prerequisites. By acknowledging the pressures and pains of our political moment -- a time of crisis for many in our city and nation, but also a long-awaited reckoning with issues of social justice -- this course engages the complex history of race and racial injustice in St.

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

The site-specific design processes bridge two-dimensional and three-dimensional work, including drawing, drafting and making. The experiential qualities of architecture are introduced through basic considerations of scale and human interaction. The course work includes studio, work, lectures, presentations by students, readings, writing assignments and field trips.

This core design studio engages the basic principles of architectural design through iterative processes of drawing and making, using a variety of tools, media and processes. The course work includes studio work, lectures, student presentations and local field trips.

Prerequisite: A grade of C- or better in Arch or co-registration in Arch This introductory design studio course engages the basic principles of architectural context, composition and experience. Using the theme of Drawing and Observing, the studio integrates design and drawing to challenge the students to observe the world more carefully, creating narrative drawings that serve as a foundation for design proposals.

Throughout the semester, students will engage various design processes -- including freehand drawing, collage, orthogonal projection and model making -- that will serve as a window into the field of architecture. The projects include design proposals for small structures in public spaces, such as pavilions or urban furniture, which emphasize the experiential qualities of architecture and the basic considerations of building scale, human interaction, inhabitation and empathy.

Using observation, analysis and invention, the class sessions alternate between drawing and making, constantly bridging two-dimensional and three-dimensional work. Course work includes drawings, models, and drawing in studio and on-site. Architecture for Non-Architects introduces non-architecture students to the process through which architects think about, view and produce the built environment. This new course is meant to serve as an alternative to the traditional studio instruction in the major, thus allowing students who are curious about architecture to experience it without the demands and commitment of major courses.

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

Field trips will initiate students into the act of seeing by challenging them to observe, interpret and critically engage with the built environment "the site" and those who are affected by it "the stakeholders" in specific scalar and temporal contexts. Credit 3 units. This course offers first-year students in the College of Architecture an introduction to the subjects, theories, and methodologies of the disciplines of architecture, landscape architecture, and urban design. Examples drawn from a range of both historical periods and contemporary practice highlight distinct processes of thinking and working in each discipline as well as areas of intersection and overlap.

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

This course offers studio exercises that emphasize three-dimensional design issues: problem solving, materials, structure, fracture, spatial relationships and systematic processes of design.

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

Course fee is applied to cost for mandatory fingerprint background check. Introduction to Design Processes III engages design through the lens of perception by investigating the relationship between materiality and inhabitable space situated in a natural context. Prerequisites: successful completion of Arch and Arch with a grade of C- or better or successful completion of Arch with a grade of C- or better. Studio course that initiates architectural and building issues such as building analysis, structure, organizational systems, and programming.

Prerequisite: successful completion of Arch B with a grade of C- or better. Studio which initiates architectural and building issues such as: building analysis, structure, organizational systems, and programming. Prerequisites: successful completion of Arch C with a grade of C- or better. This course builds on the investigations of A46 X Community Building and concentrates on the economic, political and social dynamics shaping neighborhoods.

In order to ground discussions in reality, the class immerses itself in the urban laboratory of St. Louis while relating local issues to broader trends. A survey of the paradigms of American urban design and planning will provide an overview of the creative strategies and ongoing contradictions of redevelopment in the 21st century.

Students will be exposed to a range of research methods for understanding deep, relational, political and legalistic dynamics shaping communities. This course introduces students to the contemporary global characteristics of design in the late 20th and 21st century. The marketing, fabrication, distribution and consumption of design is global, yet the cultural and formal identity of most design products are national and regional.

How do traditions of design and quality based on centuries of a national and regional design culture react and adapt to a global market?

What is the culture of design? What is design identity? Italian design is the primary focus of this course, followed by Japanese and Asian design and manufacturing.

Case studies include examples of industrial design, fashion design, communication design and automobile design. The course also includes presentations by design curators and representatives of various international design companies.

This course covers Italian grammar and conversation for study abroad students in Florence. Taught entirely in Italian. There is an emphasis on class participation accompanied by readings and writings. The student develops facility speaking the language on an everyday basis.

Same as F20 ART The seminar will meet eight times over the course of the semester. Attendance is mandatory for students going abroad. Credit 1 unit. This service learning experience allows Washington University students to bring their knowledge and creativity about the many subjects they are studying to students at the Compton-Drew Middle School, adjacent to the Science Center, in the City of St.

During the last two thirds of the semester Washington University students will be on-site during the Compton-Drew school day, once a week on each Monday from a. This course is open to freshmen, sophomores and juniors. This is an intensive three-week course that sets students up to enter the first of a two-semester studio sequence. The first-year sequence introduces students to architectural design, focusing on conceptual, theoretical, and tectonic principles.

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

We drew even before we could write. It is an integral part of a design process and foundational to how we navigate the digital world. This course will explore all these aspects of drawing and its role in today's culture. It is a hands-on course that allows students to explore and experiment with a variety of representational media, including freehand drawing, rendering, and digital drawing.

An emphasis will be put on drawing as a way of searching for and discovering design solutions. The majority of the drawings produced will not be ends in themselves as finished products; rather, drawing will serve as a process-driven medium for exploring new ideas and design solutions. This course will explore architectural detailing from the quotidian to the sublime to posit architectural design intent. Through fieldwork and research, students will study the role of architectural detailing in the configuration and execution of architectural space making.

Students will be asked to carefully observe their own constructed environment and architectural precedents to understand the truth and fiction in construction. This course seeks to help students understand the role of the architectural detail in articulating and reinforcing architectural concepts. It will strengthen the student's understanding of material properties, opportunities and limitations, construction sequencing, and design execution.

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

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

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

Students learn to look below the surface, beyond the single obvious story, for multiple stories, discovering their complexity, contradictions and paradoxes. They also come to consider the complex ways in which architecture and the built environment can affect or be affected by a host of other disciplines.

College of Architecture and College of Art sophomores, juniors, and seniors have priority. Fulfills Sam Fox Commons requirement. CET course. What does it mean to engage in community as a creative practitioner? Community engagement must be grounded in authentic relationship building and an ability to understand and act within the historic context and systems that impact communities. We will practice the skills of listening, observation, reflection, and improvisation.

We will cultivate mindsets that focus on community assets and self-determination. Workshops will teach facilitation and power analysis, with the intention of upending the power dynamics between community and creators. This course pairs with "Engaging St. This course addresses the complex economic, political and racial landscape of north St.

Louis County focused on Ferguson, Missouri, as the embodiment of problems and conflicts endemic to urban communities across the country. The events following Michael Brown's shooting death on August 9, , have revealed deep divisions in the St. Louis metropolitan area. Our multidisciplinary approach will be evident as we investigate the intersecting, compounding roles of social and economic inequities, racial disparities, white flight, public safety, housing, and economic development as we grapple with legitimate, thoughtful ways of making positive change.

We'll learn how to listen to, understand, and address conflicting voices. Readings, speakers, site visits, films, and other materials will be combined with discussion, writing, and socially conscious engagement as we seek to understand the many faces of Ferguson while following contemporary developments as they occur. Professor Robert Hansman acts as advisor and guide. This course offers fresh perspectives and provides unique opportunities for community engagement for students who have previously taken Community Building; however that course is not a prerequisite.

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

Concurrent registration in Building Systems I required. It is said that, at this time in history, the entire country must make a commitment to improve the positive possibilities of education. We must work to lift people who are underserved; we must expand the range of abilities for those who are caught in only one kind of training; and we must each learn to be creative thinkers contributing our abilities to many sectors of our society.

In this course, we will expand our views about learning by experimenting with the creative process of lateral thinking. We will learn about learning by meeting with some brilliant people at the university and in the St.

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

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

This course will focus on monotype mixed media printmaking using both a press and digital print processes. The course is designed to be responsive to current issues with a focus on contemporary printmaking practices and various ideas about dissemination in the age of social media.

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

Art : FAAM. Students design and build human-powered vehicles from discarded bicycles. The course collaborates with student mechanics involved with Bicycle Works Bworks. Bworks collaborates in teams with Washington University students to design and build the work.

The first of a three-semester sequence that introduces students to architectural design, focusing on conceptual, theoretical, and tectonic principles. For first-semester MArch 3 students only. The first of a two-semester sequence that introduces students to architectural design, focusing on conceptual, theoretical, and tectonic principles. Photography offers ways of seeing and representing the world around us. This course provides technical and conceptual frameworks for understanding architectural space as seen through the camera.

Topics include building as site, landscape as context, and the architectural model as a representation tool. Students are introduced to a wide range of artists and architects, helping build a unique camera language to support their individual projects. Students will learn DSLR camera basics, fundamentals of Photoshop, digital printing techniques and studio lighting for documenting architectural models.

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

The second of a three-semester sequence of core design studios, which continues the examination of issues raised in ARCH Enrollment is open to second-semester MArch 3 students only. The objective is to develop the requisite discipline, accuracy, and visual intelligence to conceptualize and generate a relationship between space and form.

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

We will see that, rather than a translation of reality, representation operates between perception and cognition as a transcription of reality and is thus a powerful instrument in the design and making of architecture. The relationship between the drawing forms and the tools used to produce them are brought into focus as manual, digital, photographic and physical applications driven by drawing intentions. The objective is to develop the requisite discipline, accuracy and visual intelligence to conceptualize and generate a relationship between space and form.

The course focuses on two concurrent tasks: first, to outline and analyze the historical development of representational logics and their impact on architectural ideation, and second, to explain the codification and usage of specific geometries, including orthographic and isometric projection, central and parallel perspective, and architectural axonometric. We see that, rather than a translation of reality, representation operates between perception and cognition as a transcription of reality and is a powerful instrument in the design and making of architecture.

Emphasis is on participation and excessive absences are noted. Please note: The second half of the semester focuses on computing, for which each student is required to have a laptop computer. This course will focus on fabrications both real and virtual. The ubiquity of computers in design, studio art, communications, construction and fabrication demand that professionals become comfortable with their use.

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

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

In the second part, students will generate physical output and line drawings. The final project will focus on rendering, context and cinematic effects. The software covered in this course includes, but is not limited to: Rhinoceros 3D, Maya, Illustrator, Photoshop. Digital Representations introduces students to digital modeling and fabrication, parametric workflow, and various 2D and physical output techniques.

Starting from first principles, this course begins with the basics from interface to output for each platform used, developing skills in digital modeling and physical output and serving as a prerequisite for more advanced courses in design scripting and digital fabrication. Students complete a semester-long project divided into three assignments, beginning with developing a detailed digital model of a formal precedent, which introduces students to basic skills in modeling with nurbs, subdivision surfaces, and meshes.

Continuing to develop a clear diagrammatic organization and hierarchy, students expand the characteristics of their original formal precedent using Grasshopper to create a set of dynamic, flexible behaviors. Drawing upon their initial understanding and analysis of organizational systems within their formal object, students transfer their observations into the construction of a spatial parametric model that has potential to serve structure, fabrication methods, and material assembly.

Finally, students develop their digital model into a geometrically rationalized material system that draws upon their initial precedent, producing a physical model, renderings, and 2D drawings presented in the format of a final review. Digital Evolutions will introduce digital modeling, parametric workflow, and fabrication techniques in a variety of two and three-dimensional media to document the imagined development of a hypothetical animal species.

As a prerequisite for more advanced courses in design scripting and digital fabrication, this course will introduce each technique at a foundational level giving every student a new arsenal of digital tools with which they can act as evolution's intelligent designer. Students will begin with an analysis of drawings by Ernst Haeckel , a German biologist, naturalist, philosopher, and artist who promoted and popularized Charles Darwin's work in Germany, but whose own alternative theories of evolution have subsequently been discredited.

Students will use Grasshopper and associated plug-ins to exploit the powerful flexibility of parametric design to iteratively adapt these studies to various imagined environmental conditions.

Working in pairs, students will crossbreed their species, synthesizing ideas concerning skin, support systems, pattern, and kinetics, finally modeling this fictitious entity with a geometrically rationalized material system-a fabricated fabrication. This course is a sustained investigation of color.

Students study how color is affected by light, by space, by arrangement, by culture, and by commerce. The course aims to deepen the understanding of color's complexity and pervasiveness as a fundamental element of shared visual culture.

The course develops both technical and conceptual skills to aid in visual translation. In addition to color-specific inquiry, a goal is to expand ideas of research and enable students to integrate various methods of acquiring knowledge into their art and design practice. The course allows for much individual freedom and flexibility within varying project parameters. This lecture course will introduce major historical narratives, themes, sites, and architects from ancient Greece to the end of the Baroque period.

We will take an extended look at the dawn of the modern period during the 15th and 16th centuries through a global perspective, turning eastward from Renaissance Europe to the Ottoman, Mughal, Chinese, and Japanese empires. The great chronological and geographic span of this course will be pulled together around the themes of classicism and its subsequent reinterpretations as well as the pursuit of the tectonic ideal.

Our aim is to recognize how these ideological pursuits of modern architecture evolved out of longer historical processes. We will also pay close attention to major sites of landscape and urban-scale work. Requirements will include a mid-term exam, a final exam, and a series of short papers. An introductory survey of the history and theory of architecture and urbanism in the context of the rapidly changing technological and social circumstances of the past years.

In addition to tracing the usual history of modern architecture, this course also emphasizes understanding of the formal, philosophical, social, technical and economic background of other important architectural directions in a global context. Topics range from architects' responses to new conditions in the rapidly developing cities of the later 19th century, through early 20th-century theories of perception and social engagement, to recent efforts to find new bases for architectural interventions in the contemporary metropolis.

A study-abroad seminar providing an in-depth and in-situ exploration of architecture and urbanism in Italy.

Our perception of concrete is typically determined by the mold that gives it its shape and not the material itself. Given the fluidity of the material in its plastic state, the desired morphology and configuration once cured relies on its molding possibilities. During this seminar students will explore the essence of mold making, its possibilities and limitations as containers of a fluid material that will determine its final shape and surface quality.

Starting from an understanding of standard molding procedures, students will explore a wide range of non-conventional formwork techniques such as flexible fabric, pneumatic, 3d printing, dynamic casting, rotoforming and others. Students will produce physical molds and cast prototypes in concrete or other materials through a process of experimentation and discovery.

The ultimate goal of this course is to use formwork as an active and accessible design tool and fertile ground for innovation. Students are expected to develop creative processes that can be applicable to unprecedented and novel casting techniques and potentially to manufacturing methods of actual building components.

The course is structured around an initial lecture about mold making precedents and possibilities, specific readings, a short research on traditional and other current -non-traditional- mold techniques and hands-on work. Students will work individually to fabricate small mold prototypes 6" x 6" x 6" , cast concrete or other fluid materials readily available to perform tests and produce accurate representation of the outcomes and its process.

The course is open to undergraduate and graduate students. In this seminar, students will research and develop designs for a completely off-the-grid "small" house in Boquete, Panama, for Kaylee and Jordan of the Nomadic Movement YouTube channel. With input from Kaylee, Jordan, and their crew, students will research traditional sustainable building practices in Panama and develop schematic designs for a small house to be built by them on their property in Boquete, with construction beginning in May The course will include instruction in residential design, structure, and materials and methods of construction.

A subtext of the course will be entrepreneurship and beginning one's practice as an architect. To this end, students will be asked to write a prospectus for their architectural practice, including naming, branding, and producing their first YouTube video. Through a series of analytical, critical and interpretative studies of singular works of architecture in the 20th century, this course focuses on the manifold processes and contexts of their production.

Each work is examined as a physical and cultural artifact with precise formal, intellectual and ideological intentions and meanings. The architectural object, understood as a synthesis of multiple criteria and frameworks, is explored from its conception through its realization based on certain principles fundamental precepts of the discipline of architecture and a broad range of concepts abstract ideas understood as the products of speculative and reflective thought.

Arch : GARW. There is a conceptual similarity between the way an organism and a building engage their respective environments. A biological system responds to the unique condition of its ecosystem; architecture responds to the unique conditions of the site.

Building on this principle are the fields of biomimicry, the study of design and process in nature, and biokinetics, the study of movement within organisms, and their ability to address architectural problems with elegant, technologically advanced, sustainable solutions.

Biomimicry: A Biokinetic Approach to Sustain Able Design focuses on kinetics as an essential element of biomimicry in the context of architecture and employs the study of the kinetic aspects of biological systems — structure, function and movement — to inform the design and engineering of buildings. Dating for expats info. Living in Germany is an incredible opportunity to rediscover and reinvent yourself, including the romantic side of your life.

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It is also the largest mosque in the world. This drawing contains plans and elevation of a model mosque. Fiberglass Storage Tanks. Thank you so much. With tap ledge, whithout tap holes tap drill points marked underneath with overflow. Start new topic. In late , a fire devoured the fabled Souq al-Madina, the largest covered commercial space in the Islamic world, an architectural masterpiece as well as an energetic space for commerce, religion, study, and leisure.

Church of life dwg. Built by Ahmed Ibn Tulun in H , the Ibn Tulun Mosque in the Sayyedah Zeinab district has an atmosphere of tranquillity unlike that of any other mosque in the city. The CAD files and renderings posted to this website are created, uploaded and managed by third-party community members. Furniture, library of dwg models, cad files, free download. It stands on a natural outcrop of rock which dominates the city and took 5, workmen six years to build.

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Site Address Owners. The project features an inhabited dam, bridge and vertical village built right into the cliff. More information. Now click at a point close to the top left of the layout well within plotter margin and then click at another point to make a rectangular viewport.