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M O T I V A T I O N | ||
Spatial grammars have their origin in formal grammars, which are rule-based systems that can be used for composition. Grammatical approaches to design offer an alternative to traditional approaches. The goal of grammars is not merely to produce a single design as the final outcome, but, rather, to provide an understanding of the underlying spatial relations that come into play in an eventual design. For nearly three decades, grammars have been used extensively to understand styles of architecture, landscape design, fine art and ornament. More recently, there has been an increasing application of grammatical ideas to many other disciplines. | ||
C O U R S E O B J E C T I V E | ||
A particular kind of grammatical formalism called shape grammars will be examined in detail. Shape grammars encapsulate spatial compositions of designs within a certain style as a language. | ||
C O U R S E D E S C R I P T I O N | ||
This course is essentially divided into two parts. The first part explores the grammar paradigm and its application to architecture, urban design, and design. The second part looks at more advanced topics in grammar work. The course is divided into a series of lectures, each based on a theme (or topic) and will essentially, taking the format of a discussion that I will lead and expect you to participate in. The lecture topics will cover some of the following aspects of grammars. The choice of the topics, particularly in the second half of the course, will be determined by the strengths of the students in the class.
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R E A D I N G S a n d R E F E R E N C E | ||
SHAPE: Talking about seeing and doing by George Stiny, MIT Press. There is no textbook (available) for this course. I usually prepare a reader of seminal and important articles which will include an extensive bibliography of articles on grammars some of which I will use as the source material for the lectures. Also, I usually prepare a set of lecture notes. Copies of transparencies, if any, used in the lectures can be obtained from me or from the course web site | ||
C O U R S E C R E D I T — 9 units | ||
For Computational Design students this is a 12-unit course The course is divided into a lecture course (6 units), which supplies the basis of understanding grammatical ideas and construction and a project course (3 units), which is regarded as the starting point for pursuing individual research into advanced generative processes and systems. Computational Design students have to complete an additional 3 unit programming assignment. | ||
C O U R S E R E Q U I R E M E N T | ||
Irrespective of how students are initially registered for this course — students will be evaluated on the following requirements.
Students may opt to take the programming assignment for an additional 3 units. Other students may opt to take the programming assignment instead of doing a project, or additionally for 3 extra units. | ||
G R A D I N G | ||
Ideally, no student should take a elective course for a grade, but out of interest or curiosity. If you show a real affinity and flair for the subject, you should expect an A. If you show a basic level of competence and interest, you should expect a B. Otherwise, this is not a course for you. Having said this, the following grading scheme seems to fit this objective. Passing grades are awarded according to the following scale (A 90+ B 80+ C 70+ D 60+) with the following caveat:
My marking will be objectively fair as humanly possible. You are at liberty to question my marking, but only once. I have a tendency to mark hard assignments leniently and easy assignments hard.
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P R E R E Q U I S I T E | ||
Computational Design students are expected to have programming experience. All other students with a programming background are eligible to take the 12 units version of the course when offered, or substitute the project requirement with the programming assignment. |