COURSE CHANGE Cover Sheet Use  this  form  for  course  changes  that  require  curricular  review.  [Revised  July  2017]  

   Course  DESIGNATOR  and  TITLE:          

   Career:   [    ]    Undergraduate                  [   ]   Graduate    

Unit:   [    ]    ARCH              [   ]   DHA        [   ]   HUMF    

  [    ]    LARCH          [    ]    MST        [    ]    INTERDISCIPLINARY  

Program:                              

Submission  from:                        

Submission  date:                                      

Effective  term  (must  be  a  future  term):                                  

Estimated  student  expense  for  taking  this  course:                                                                

Required:  [    ]   YES,  Academic  Support  Resources  needed:    

[    ]   Computer  Lab  [    ]   Digifab  Lab  [    ]   Goldstein  [    ]   Imaging  Lab  [    ]   Libraries  [    ]   Other  Technology  [    ]   Workshop  

[    ]   NO  Academic  Support  Resources  need

       Program  effect  

Does  this  course  change  also  change  the  program  (including  adding  it  as  an  elective)?  [   ]   YES                      [   ]   NO  If  yes,  is  Program  Change  form  included  this  curricular  review  cycle  or  future  cycle?   [   ]   YES,  included   [   ]   NO,  deferred  

 Type  of  change  (Please  refer  to  and  use  housekeeping  form  for  all  other  course  changes.)  

[    ]   Credit  Change                              [   ]   Cross-­‐Listing                              [   ]   Inactivate  course                                  Related  course  changes  under  curricular  review  this  cycle  

Is  this  change  related  to  other  course  changes  under  curricular  review  this  cycle?   [   ]   YES                      [   ]   NO  If  yes,  identify  which  other  courses:        

 Summarize  change  and  rationale  (Executive  Summary  field  in  Workflow  Gen)  

Describe  the  planning  and  development  activities  that  generated  this  course  proposal.  Include  the  following  information:  why  the  course  is  needed,  which  students  are  impacted,  etc.  

                     Summarize  consultation  

Will  students  in  other  programs  be  impacted  by  this  change?   If  so,  indicate  associate  dean,  faculty,  and/or  academic  advisers  consulted,  the  program/s  represented,  and  provide  a  summary  of  the  consultation  and/or  e-­‐mail  documentation.  [    ]   NO  consultation  needed  (explain)   [   ]   YES,  consultation  complete  (summarize  concisely  here)  

           Faculty  oversight/unit  approval  process  by:  [    ]   full  faculty   [    ]    unit  undergraduate  curriculum  committee   [   ]   unit  graduate  curriculum  committee  [    ]    other  (specify  oversight  body):        

 Faculty  oversight  vote:   Ayes         Nays         Abstain        

Electronic Course Authorization System(ECAS)LA 3002 - VIEW COURSE PROPOSAL

Back to Proposal List

Approvals Received: Departmenton 9/19/17

by Amanda Smoot(asmoot@umn.edu)

Approvals Pending: College/Dean > Provost > CatalogEffective Status: ActiveEffective Term: New: 1183 - Spring 2018

Old: 1153 - Spring 2015Course: LA 3002Institution: UMNTC - Twin Cities/RochesterCampus: UMNTC - Twin CitiesCareer: UGRDCollege: TALA - College of DesignDepartment: 10828 - Landscape Architecture

General

Course Title Short: Informants of Creating Space

Course Title Long: Informants of Creating Landscape Space

Max-Min Credits for Course: New: 4.0 to 4.0 credit(s)Old: 3.0 to 3.0 credit(s)

Catalog Description: New: In this course, you will analyze and design specific projects, considering both their physical and conceptual connection to the larger context in which they are located. The aim is for you to gain an understanding of the relationship of landscape to architecture at the site and urban scales; consider the effects of construction and ground manipulation on the perception and experience of space; and explore the possibilities of layering and transparency, enclosure and adjacencies, in between spaces and connectors. Ultimately, the course will investigate the intersection of physical, biological, and cultural attributes, the opportunities and constraints they produce, the design of space based upon these features, and the [re]presentation of these designs. We will also be building the soft skills that help us grow to be more empathetic and understanding of our client's needs and desired outcomes and practice them throughout the workshop in order to translate experience and input into program + design.Old: Development of the design program, Site analysis of landscape space. Design exercises show how design program and site analysis inform creation of landscape space in developing schematic designs at varying geographic scales and in different geographic settings. Lectures, readings, discussions.

prereq: 3001, Arch 3401, 3501

Campuses: Twin Cities Crookston Duluth Morris Rochester Other LocationsSigned in as: asmoot | Sign outGototheU

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Print in Catalog?: Yes

CCE Catalog Description: false

Grading Basis: AFV

Topics Course: No

Honors Course: No

Online Course: No

Freshman Seminar: No

Is any portion of this course taught outside of the United States?: No

Community Engaged Learning (CEL): None

Instructor Contact Hours: New: 4.0 hours per weekOld: 3.0 hours per week

Course Typically Offered: New: Every SpringOld: Periodic Fall

Component 1: LEC

Auto Enroll Course: No

Graded Component: LEC

Academic Progress Units: New: 4.0 credit(s) (Not allowed to bypass limits.)Old: 3.0 credit(s) (Not allowed to bypass limits.)

Financial Aid Progress Units: 4.0 credit(s) (Not allowed to bypass limits.)

Repetition of Course: Repetition not allowed.

Course Prerequisites for Catalog: <No Text Provided>

Course Equivalency: <No text provided>

Cross-listings: No cross-listings

Add Consent Requirement: No required consent

Drop Consent Requirement: No required consent

Enforced Prerequisites: (course-based or non-course-based): No prerequisites

Editor Comments: <No text provided>

Proposal Changes: <No text provided>

History Information: <No text provided>

Faculty Sponsor Name: New: Brad AgeeOld: <No text provided>

Faculty Sponsor E-mail Address: New: ageex004@umn.eduOld: <No text provided>

Student Learning Outcomes

Student Learning Outcomes* Students in this course:

- Can identify, define, and solve problems

How will you assess the students' learning related to this outcome? Give brief examples of howclass work related to the outcome will be evaluated.

New: Students analyze and design specific projects,considering both their physical andconceptual connection to the larger context in which they are located. The aim is to gain anunderstanding of the relationship of landscape to architecture at the site and urban scales;consider the effects of construction and ground manipulation on the perception and experienceof space;and explore the possibilities of layering and transparency, enclosure and adjacencies,“in between” spaces and connectors. The course investigates the intersection of physical,biological, and cultural attributes, the opportunities and constraints they produce, the design ofspace based upon these features, and the [re]presentation of these designs. Students also

build the skills that help them to be more empathetic and understanding of their client’s needsand desired outcomes and practice them throughout the workshop in order to translateexperience and input into program + design.

Old:

Please explain briefly how this outcome will be addressed in the course. Give brief examples ofclass work related to the outcome.

New: a. (Identify, Define). Students develop as many programmatic activities on paper aspossible followed by time evaluating the outcomes and listing all the supporting elements foreach programmatic activity. Students assign preference categories/hierarchy for programmaticelements (prioritization). On a plan of the site, they start to spatialize activities and imaginehow they may be accommodated, connected, integrated, etc. b. Students create a program (ormultiple approaches to program) for their project. (Solving) They choose elements fromcategories studied in class and list each element and all of its supporting requirements (what isneeded spatially or supportive of it – i.e. if you want a hiking trail, how do you expect people toget there? Do you need a place for learning materials? Do you need shade? How do peopleknow who can use it? Then create organizational diagrams on top of the site map showingspatial organizational relationships.

Old:

- Can communicate effectively

How will you assess the students' learning related to this outcome? Give brief examples of howclass work related to the outcome will be evaluated.

New: Students analyze and design specific projects,considering both their physical andconceptual connection to the larger context in which they are located. The aim is to gain anunderstanding of the relationship of landscape to architecture at the site and urban scales;consider the effects of construction and ground manipulation on the perception and experienceof space;and explore the possibilities of layering and transparency, enclosure and adjacencies,“in between” spaces and connectors. The course investigates the intersection of physical,biological, and cultural attributes, the opportunities and constraints they produce, the design ofspace based upon these features, and the [re]presentation of these designs. Students alsobuild the skills that help them to be more empathetic and understanding of their client’s needsand desired outcomes and practice them throughout the workshop in order to translateexperience and input into program + design.

Old:

Please explain briefly how this outcome will be addressed in the course. Give brief examples ofclass work related to the outcome.

New: a. Students perform a group activity to begin to get the design and programmatic needsfor a site. (Communicate)

Old:

Liberal Education

Requirement this course fulfills: <no text provided>

Other requirement this course fulfills: <no text provided>

Criteria for Core Courses: Describe how the course meets

the specific bullet points for theproposed core requirement. Giveconcrete and detailed examplesfor the course syllabus, detailedoutline, laboratory material,student projects, or otherinstructional materials ormethod.

Core courses must meet thefollowing requirements:

They explicitly helpstudents understand whatliberal education is, howthe content and thesubstance of this courseenhance a liberaleducation, and what this

means for them asstudents and as citizens.They employ teaching andlearning strategies thatengage students withdoing the work of the field,not just reading about it.They include small groupexperiences (such asdiscussion sections or labs)and use writing asappropriate to thediscipline to help studentslearn and reflect on theirlearning.They do not (except in rareand clearly justified cases)have prerequisites beyondthe University's entrancerequirements.They are offered on aregular schedule.They are taught by regularfaculty or underexceptional circumstancesby instructors oncontinuing appointments.Departments proposinginstructors other thanregular faculty mustprovide documentation ofhow such instructors willbe trained and supervisedto ensure consistency andcontinuity in courses.

Criteria for Theme Courses: Describe how the course meets

the specific bullet points for theproposed theme requirement.Give concrete and detailedexamples for the course syllabus,detailed outline, laboratorymaterial, student projects, orother instructional materials ormethods.

Theme courses have the commongoal of cultivating in students anumber of habits of mind:

thinking ethically aboutimportant challengesfacing our society andworld;reflecting on the sharedsense of responsibilityrequired to build andmaintain community;connecting knowledge andpractice;fostering a stronger senseof our roles as historicalagents.

LE Recertification-Reflection Statement (for LE courses being re-certified only): <No text provided>

Statement of Certification: This course is certified for a Core(blank) as ofThis course is certified for a Theme(blank) as of

Writing Intensive

Propose this course as Writing Intensive curriculum: No

Question 1 (see CWB Requirement 1):How do writing assignments and writing instruction furtherthe learning objectives of this course and how is writingintegrated into the course? Also, describe where in thesyllabus there are statements about the critical role writingplays in the course.

<No text provided>

Question 2 (see CWB Requirement 2):What types of writing (e.g., research papers, problem sets,presentations, technical documents, lab reports, essays,journaling etc.) will be assigned? Explain how theseassignments meet the requirement that writing be asignificant part of the course work, including details aboutmulti-authored assignments, if any. Include the requiredlength for each writing assignment and demonstrate howthe 2,500 minimum word count (or its equivalent) forfinished writing will be met.

<No text provided>

Question 3 (see CWB Requirement 3):How will students' final course grade depend on theirwriting performance? What percentage of the course gradewill depend on the quality and level of the student's writingcompared to the percentage of the grade that depends onthe course content? Note that this information must also beon the syllabus.

<No text provided>

Question 4 (see CWB Requirement 4):Indicate which assignment(s) students will be required torevise and resubmit after feedback from the instructor.Indicate who will be providing the feedback. Include anexample of the assignment instructions you are likely to usefor this assignment or assignments.

<No text provided>

Question 5 (see CWB Requirement 5):What types of writing instruction will be experienced bystudents? How much class time will be devoted to explicitwriting instruction and at what points in the semester?What types of writing support and resources will beprovided to students?

<No text provided>

Question 6 (see CWB Requirement 6):If teaching assistants will participate in writing assessmentand writing instruction, explain how will they be trained(e.g. in how to review, grade and respond to studentwriting) and how will they be supervised. If the course istaught in multiple sections with multiple faculty (e.g. acapstone directed studies course), explain how every facultymentor will ensure that their students will receive a writingintensive experience.

<No text provided>

Statement of Certification: This course is certified for a Theme (blank) as of

Course Syllabus

Course Syllabus: New: ARCH 3250 + LA 3002 // Community Design Practice: Informants of Creating Space

Module // Spring (03/20/2017 – 05/05/2017), 3 Credits Meets // MWF, 9:45am – 12:30pm, Rapson 251 (BDA Studio) w/regular site visits Instructors // Joe Favour, Department of Landscape Architecture - favou001@umn.edu James Wheeler, School of Architecture - whee0113@umn.edu Office Hours Available by Appointment

Uncertainty is not a problem to be solved. It is the working space of our time.

In a recent issue of The Chronicle of Higher Education, Thomas Fisher, the Dean of the College

of Design at the University of Minnesota and current president of the Association of Collegiate Schools of Architecture calls for architectural education to respond to the growing need for designers to take on the challenge of working beyond the traditional paying client model. Fisher states, “The world desperately needs a design version of public health, and so do architecture schools and the profession itself. . . This design-for-all philosophy would certainly demand a new business model and new forms of architectural education.” We can expect the new business models to be subsidized to varying degrees, supporting architects and planners to extend the reach of design beyond meeting the program needs of paying clients. The opportunities and challenges for such new modes of practice are in every city. Many service organizations that work in partnership with architects and planners are well versed in subsidized work and can be collaborators and guides. The current generation of community design activists should learn to combine the familiar design school encouragement to have a broad view of a project, with the pragmatic function of subsidization to address today’s complex problems. The work of such community design practices would be propelled and funded by explicit social and environmental objectives that would be able to advance beyond the self-interests of typical clients. These new models of community design practice would do more than merely provide design assistance to underserved populations; they would lead the effort to invent ways to use design to address the risks and uncertainties of our time. -David Perkes, Batture, Volume 5

OVERVIEW // Community Design Practice

Community design is a movement focused on the creation and management of environments for people. This process promotes change to the built environment from the neighborhood to regional scale, and aims to meet community needs through participatory decision-making at all levels. Community Design helps to establish active partnership with community residents and institutions and to advocate and develop strategies for strengthening neighborhoods through. This workshop will provide opportunities to engage in design projects with active partners that are addressing needs in their neighborhood and communities. We will partner on projects that will range in scale and scope as well as vary in the stage in which the project will be developed. Students will be introduced to the partners and projects and then work in groups of two to three to develop a scope of work and deliverable schedule with the client group to address the needs of the project during the course of the eight-week course and in some cases helping to plan for implementation beyond the end of term.

Community Design is an incredibly fluid process that can be very intense and requires a good deal of effort, patience, and commitment. We have the opportunity to engage in partnership with a number of amazing organizations and institutions to make these design projects happen. We have the responsibility as designers to make sure that we are clear about our intentions, abilities, and assets we are bringing to the project and looking to our partners to help strengthen the aspects of the project that we are unable to provide through the development of partnerships through collaboration.

OVERVIEW // Integrated Approaches to Issues

In this course, you will analyze and design specific projects, considering both their physical and conceptual connection to the larger context in which they are located. The aim is for you to gain an understanding of the relationship of landscape to architecture at the site and urban scales; consider the effects of construction and ground manipulation on the perception and experience of space; and explore the possibilities of layering and transparency, enclosure and adjacencies, “in between” spaces and connectors. Ultimately, the course will investigate the intersection of physical, biological, and cultural attributes, the opportunities and constraints they produce, the design of space based upon these features, and the [re]presentation of these designs. We will also be building the soft skills that help us grow to be more empathetic and understanding of our client’s needs and desired outcomes and practice them throughout the workshop in order to translate experience and input into program + design.

This requires a number of things from you as a student: 1) Attend every class for the entire duration of the class. 2) Bring your design work to class and be prepared to discuss it in a timely fashion (pin up will occur prior to class). 3) Offer and receive constructive criticism to and from your classmates. 4) Be receptive to criticism offered by your instructor and outside reviewers.

OVERVIEW // Constructive Critical Processes

The pursuit of design inquiry and the offering and receiving of criticism involves a delicate balance between taking ownership of and pride in your own thought processes and their products, and being able to incorporate critical commentary into the improvement of your inquiry. Critical commentary will be a reality throughout the entirety of your professional career. Part of your design education, therefore, is oriented toward sharpening your own critical thinking capabilities, developing an ability to offer critical insight in a constructive manner, and

understanding how to accept and filter criticism to refine and expand your own projects and ideas. Because the ability to think critically is enhanced with practice, all students will be expected to offer critical commentary on their peers’ work. Peer and instructor commentary will be offered in one of three forms: “desk critique” reviews of work in progress, informal “pin-ups” of ideas nearing crystallization, and formal presentation of completed works. Commentary must be constructive and offer insight into logical next steps that will enrich and support the project. They must help sharpen the focus and enhance the execution of the design inquiry.

COURSE INFORMATION // Learning Objectives + Outcomes The goals for students completing the workshop are: 1) Develop an understanding of the relationship of structure and site and the inseparable nature of the effects they have on one another and the context of a site. 2) To explore how public-engaged + community design practice may function on a fundamental level through first-hand experience + reflection in an integrated disciplinary learning environment. 3) To develop and identify skills necessary to communicate ideas regarding design practice to groups of peers and community stakeholders. 4) To draw functional program from community input and translate it into designed form to address need. COURSE INFORMATION // Grading Evaluation Site + Scope of Work Document: 10% Written Reflections: 20% Remix Presentation + Deliverables 10% Final Presentation: 20% Final Deliverable Package: 20% Peer + Partner Evaluations 10% Desk Critiques + Progress: 10% Total: 100% COURSE INFORMATION // Assignment Briefs Briefs will be issued for each graded portion of the course in the second week as well as expectations and explanations of how each portion will be evaluated. 01 SITE OBSERVATION + SCOPE OF WORK DOCUMENT // 10% of Final Grade The Scope of Work Document will consist of an outline of the projected agreed upon outcomes and schedule for your semester. This will be done in two parts:

+ Research + Interrogation- Each site will be documented utilizing tools that students bring from their education in the BDA + BED programs as well as an in class brief on site observations in order to catalog site issues and experience.

+Meeting + Revisions- Once design teams are formed to respond to the RFPs and dialogue has been established, there will to a draft and final Scope of Work Document produced which will outline three key pieces of information: 1) Meetings and Presentations Schedule, 2) Projected Outcomes, 3)Design and Organizational Contacts 02 WRITTEN REFLECTIONS // 20% of Final Grade Working in partnership is something that requires energy and self-reflection. In order to capture how we are learning and growing throughout the workshop, members of the design teams will submit a written reflection each week as well as a final reflection for the course. These should be ruminations on strengths, weaknesses, successes, failures, and projecting forward in the partnership on challenges, issues, and outcomes.

03 REMIX PRESENTATION + DELIVERABLE PACKAGES // 10% of Final Grade This brief will be introduced after the Scope of Work has been assembled and approved 04 FINAL PRESENTATION + DELIVERABLE PACKAGES // 40% of Final Grade This brief will be introduced after the Remix Presentations have occurred.

05 PEER + PARTNER EVALUATIONS // 10% of Final Grade Each design team and project partner will evaluate the process of working together and the success of the workshop in fulfilling the Scope of Work Document. This will be a chance to discuss the strengths and weaknesses of the partnerships and identify components that may be improved upon for future collaboration. These will be submitted directly to the instructor but discussed generally during the final class discussion.

06 DESK CRITIQUES + PROGRESS // 10% of Final Grade Each week we will be having desk critiques and progress check-ins during the class period and potentially outside of class according to the Scope of Work for the given organization/project.

COURSE SCHEDULE // Week One Introductions Monday, March 20 Defining Community Design + Building a Dialogue + Introducing Project Partners Wednesday, March 22 Site Visits Friday, March 24 Project Teams Assigned + Brief 1 issued

Week Two Site Findings + Scoping Work Monday, March 27 Scope of Work Introduction + Site Documentation Updates

Wednesday, March 29 Scope of Work Due + Desk Critiques Friday, March 31 Site Development + Projections Week Three Developing a Program Monday, April 3 Case Study Presentation + Large Group Project Meeting Wednesday, April 5 Desk Critiques Friday, April 7 Site Development + Guest Lecture – Equity + Engagement Week Four // Site + Context REMIX + Digging In Monday, April 10 Large Group Project Meeting + Site Group Meetings Wednesday, April 12 Desk Critiques Friday, April 14 Check-In Presentations + Projections Week Five // Section + Detail Site Scale + Conceptual Development Monday, April 17 Large Group Project Meeting + Site Group Meetings Wednesday, April 19 Desk Critiques Friday, April 21 Check-In Presentations + Projections Week Six // Experience Engaging the Section + Materials + Details Monday, April 24 Large Group Project Meeting + Site Group Meetings Wednesday, April 26 Desk Critiques + Guest Presentations/Critiques Friday, April 28 Check-In Presentations + Guest Presentations/Critiques Week Seven Production + Presentation Monday, May 01 Project Meeting + Production Meetings Wednesday, May 03 Desk Critiques + Production Meetings Friday, May 05 FINAL PRESENTATIONS

LATE WORK POLICY No late work will be accepted, except in the case of bona fide emergencies. Granting work extensions raises issues of fairness all students. Perceptions of unfair treatment should be directed to the instructor and/or the program director.

ATTENDANCE POLICY There is a zero tolerance for unexcused absence in studios and workshops, and students are expected to be on time at the beginning of class even for scheduled work days. The final course grade will be lowered for even one unexcused absence, or for repeated late arrivals/early departures. Absence from any scheduled review is very serious and should be avoided. Any students with three or more unexcused absences may be asked to withdraw from the course if the instructor feels they are falling too far behind. This decision will be left to the discretion of the faculty and the program director In case of an emergency, contact your instructor as soon as possible (ideally before the class period missed.)

WORKLOAD At the University of Minnesota, one credit represents 4245 hours total (i.e., including lectures, recitations, field work, assignments in and outside of class, and so on) for an average student to meet minimal course requirements and achieve an average grade (C). Professional norms and the nature of design studio activities may require more than an average three hours per week per credit to minimally meet course requirements. A good way to consider minimal workload is to double the contact hours (class time).

Thus: 2 credit, module workshop: 6 contact hours, 8-12 hours each week to minimally meet expectations (C grade) 3 credit, module workshop: 9 contact hours, 12-18 hours each week to minimally meet expectations (C grade) 4 credit, full semester workshop: 6 contact hours, 8-12 hours each week to minimally meet expectations (C grade) The related university policy is available at: http://policy.umn.edu/Policies/Education/Education/STUDENTWORK.html More information on BDA workload is available at: http://arch.design.umn.edu/programs/bda/students.html

GRADES and GRADING Grading Standards: The nature of design work is highly dependent on evaluations that can only be done when the work is complete. While every attempt will be made to identify and warn students who are working at a level below that required for a passing grade, passing review grades imply only the expectation of a passing final grade, not a guarantee. Grading criteria are based on the following standards:

A — Excellent work that not only fulfills the stated objectives of the studio syllabus and project statements, but extends them through new discoveries, insights and proposing issues beyond the stated scope. Students who earn this grade demonstrate through their work a high degree of rigor, a love of exploration, open mindedness and

resourcefulness. They also demonstrate that they have developed the ability to build upon a variety of feedback and excel independently. The resultant sequence of work clearly shows educational progress, is rigorously thought through, well crafted and clearly communicates the breadth and depth of their daily investigations.

B — Very good that work not only fulfills the stated objectives of the studio syllabus and project statements, but also further expands the stated issues by allowing those issues to direct the investigations and developments in the work. Students who earn this grade demonstrate a medium degree of inquisitiveness, systematic rigor and limited resourcefulness. They show that they are developing the ability to build upon a variety of feedback and their emerging independent voice. The resultant sequence of work is competently thought through, well crafted and clearly communicates the breadth and depth of their daily investigations of the issues presented in the projects.

C — Adequate work that fulfills and clearly demonstrates the stated objectives of the workshop syllabus and projects statements. The school expects that everyone entering a BDA workshop is capable of this level of performance. Students who earn this grade demonstrate less self critical and self motivated attitude and their work development requires excessive guidance on what to do next. C work lacks personal authorship manifested through additional and related contributions to the investigations of a project. The adequate student’s work demonstrates an understanding of the problem but show deficiencies in basic design or communication skills, time management, or the lack of breadth and depth of daily investigations.

D — Deficient work that does not demonstrate how the stated objectives of the studio syllabus and project statements have been fulfilled. The work is fragmentary, not synthesized, incomplete, and does not show the ability to learn from one’s own mistakes. D work may be the result of a lack of self confidence, a closed minded attitude, a lack of time management skills, or not being able to prioritize academic work.

Incompletes: Per university policy, a grade of "Incomplete" can only be assigned "at the discretion of the instructor when, due to extraordinary circumstances (as determined by the instructor), the student who has successfully completed a substantial portion of the course's work with a passing grade was prevented from completing the work of the course on time." In such a case, the instructor will specify the due dates and other conditions for resolving the Incomplete. Grades of Incomplete automatically lapse to an "F" after one year from the end of the course, unless the instructor agrees to an extension, which will be limited to no more than one year.

For more information on grading, see: http://policy.umn.edu/education/gradingtranscripts

SUBJECT TO CHANGE Because the nature of design and design instruction can be unpredictable, some of the intended exercises and assignments are subject to change with advance notice, as deemed appropriate by the instructor. Major deadlines, grading standards and policies are not subject to change.

MENTAL HEALTH, WELLBEING and STRESS MANAGEMENT As a student you may experience a range of issues that can cause barriers to learning, such as strained relationships, increased anxiety, alcohol/drug problems, feeling down, difficulty concentrating and/or lack of motivation. These mental health concerns or stressful events may lead to diminished academic performance and may reduce your ability to participate in daily activities. University of Minnesota services are available to assist you. You can learn more about the broad range of confidential mental health services available on campus via the Student Mental Health Website: http://www.mentalhealth.umn.edu .

SCHOLASTIC CONDUCT Academic dishonesty in any portion of the academic work for a course shall be grounds for awarding a grade of F for the entire

course. See information and help defining and avoiding dishonesty, see University Office of Student Conduct and Academic Integrity: http://oscai.umn.edu/avoidviolations/avoidingscholasticdishonesty/

DISABILITY SERVICES and ACCOMMODATIONS Every effort will be made to accommodate students with diagnosed disabilities. Please contact the instructor to initiate a discussion about how we can best help you succeed in this class. This syllabus can also be made available in alternative formats upon request. Further information is available from Disabilities Services (230 McNamara) or at University Disability Accommodations Statement : https://diversity.umn.edu/disability/

SEXUAL HARASSMENT "Sexual harassment" means unwelcome sexual advances, requests for sexual favors, and/or other verbal or physical conduct of a sexual nature. Such conduct has the purpose or effect of unreasonably interfering with an individual's work or academic performance or creating an intimidating, hostile, or offensive working or academic environment in any University activity or program. Such behavior is not acceptable in the University setting. For additional information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/SexHarassment.pdf

EQUITY AND DIVERSITY The university provides equal access to and opportunity in its programs and facilities, without regard to race, color, creed, religion, national origin, gender, age, marital status, disability, public assistance status, veteran status, sexual orientation, gender identity, or gender expression. For more information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/Equity_Diversity_EO_AA.pdf

RETENTION OF WORK The College of Design has the right to retain any student project for display, accreditation, archive, documentation or any other educational or legal purpose. In addition, the college reserves the right to reproduce and publish images of any such student work in collegiate publications, printed or electronic, for the purposes of research, scholarship, teaching, publicity and outreach, giving publication credit to the creator/student. Students may be requested by the instructor or program director to submit materials (including process work) for course/program archives. For additional information on copyright ownership of student work, see: https://policy.umn.edu/research/copyright

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ARCH 3250 + LA 3002 // Community Design Practice: Informants of Creating Space Module // Spring (03/20/2017 – 05/05/2017), 3 Credits Meets // MWF, 9:45am – 12:30pm, Rapson 251 (BDA Studio) w/regular site visits Instructors // Joe Favour, Department of Landscape Architecture - favou001@umn.edu James Wheeler, School of Architecture - whee0113@umn.edu Office Hours Available by Appointment

Uncertainty is not a problem to be solved. It is the working space of our time. In a recent issue of The Chronicle of Higher Education, Thomas Fisher, the Dean of the College of Design at the University of Minnesota and current president of the Association of Collegiate Schools of Architecture calls for architectural education to respond to the growing need for designers to take on the challenge of working beyond the traditional paying client model. Fisher states, “The world desperately needs a design version of public health, and so do architecture schools and the profession itself. . . This design-for-all philosophy would certainly demand a new business model and new forms of architectural education.” We can expect the new business models to be subsidized to varying degrees, supporting architects and planners to extend the reach of design beyond meeting the program needs of paying clients.

The opportunities and challenges for such new modes of practice are in every city. Many service organizations that work in partnership with architects and planners are well versed in subsidized work and can be collaborators and guides. The current generation of community design activists should learn to combine the familiar design school encouragement to have a broad view of a project, with the pragmatic function of subsidization to address today’s complex problems. The work of such community design practices would be propelled and funded by explicit social and environmental objectives that would be able to advance beyond the self-interests of typical clients. These new models of community design practice would do more than merely provide design assistance to underserved populations; they would lead the effort to invent ways to use design to address the risks and uncertainties of our time. -David Perkes, Batture, Volume 5

OVERVIEW // Community Design Practice Community design is a movement focused on the creation and management of environments for people. This process promotes change to the built environment from the neighborhood to regional scale, and aims to meet community needs through participatory decision-making at all levels. Community Design helps to establish active partnership with community residents and institutions and to advocate and develop strategies for strengthening neighborhoods through. This workshop will provide opportunities to engage in design projects with active partners that are addressing needs in their neighborhood and communities. We will partner on projects that will range in scale and scope as well as vary in the stage in which the project will be developed. Students will be introduced to the partners and projects and then work in groups of two to three to develop a scope of work and deliverable schedule with the client group to address the needs of the project during the course of the eight-week course and in some cases helping to plan for implementation beyond the end of term.

Community Design is an incredibly fluid process that can be very intense and requires a good deal of effort, patience, and commitment. We have the opportunity to engage in partnership with a number of amazing organizations and institutions to make these design projects happen. We have the responsibility as designers to make sure that we are clear about our intentions, abilities, and assets we are bringing to the project and looking to our partners to help strengthen the aspects of the project that we are unable to provide through the development of partnerships through collaboration. OVERVIEW // Integrated Approaches to Issues In this course, you will analyze and design specific projects, considering both their physical and conceptual connection to the larger context in which they are located. The aim is for you to gain an understanding of the relationship of landscape to architecture at the site and urban scales; consider the effects of construction and ground manipulation on the perception and experience of space; and explore the possibilities of layering and transparency, enclosure and adjacencies, “in between” spaces and connectors. Ultimately, the course will investigate the intersection of physical, biological, and cultural attributes, the opportunities and constraints they produce, the design of space based upon these features, and the [re]presentation of these designs. We will also be building the soft skills that help us grow to be more empathetic and understanding of our client’s needs and desired outcomes and practice them throughout the workshop in order to translate experience and input into program + design. This requires a number of things from you as a student:

1) Attend every class for the entire duration of the class. 2) Bring your design work to class and be prepared to discuss it in a timely fashion (pin up will occur prior to class). 3) Offer and receive constructive criticism to and from your classmates. 4) Be receptive to criticism offered by your instructor and outside reviewers. OVERVIEW // Constructive Critical Processes The pursuit of design inquiry and the offering and receiving of criticism involves a delicate balance between taking ownership of and pride in your own thought processes and their products, and being able to incorporate critical commentary into the improvement of your inquiry. Critical commentary will be a reality throughout the entirety of your professional career. Part of your design education, therefore, is oriented toward sharpening your own critical thinking capabilities, developing an ability to offer critical insight in a constructive manner, and understanding how to accept and filter criticism to refine and expand your own projects and ideas. Because the ability to think critically is enhanced with practice, all students will be expected to offer critical commentary on their peers’ work. Peer and instructor commentary will be offered in one of three forms: “desk critique” reviews of work in progress, informal “pin-ups” of ideas nearing crystallization, and formal presentation of completed works. Commentary must be constructive and offer insight into logical next steps that will enrich and support the project. They must help sharpen the focus and enhance the execution of the design inquiry. COURSE INFORMATION // Learning Objectives + Outcomes

The goals for students completing the workshop are:

1) Develop an understanding of the relationship of structure and site and the inseparable nature of the effects they have on one another and the context of a site. 2) To explore how public-engaged + community design practice may function on a fundamental level through first-hand experience + reflection in an integrated disciplinary learning environment. 3) To develop and identify skills necessary to communicate ideas regarding design practice to groups of peers and community stakeholders. 4) To draw functional program from community input and translate it into designed form to address need.

COURSE INFORMATION // Grading Evaluation

Site + Scope of Work Document: 10% Written Reflections: 20% Remix Presentation + Deliverables 10% Final Presentation: 20% Final Deliverable Package: 20% Peer + Partner Evaluations 10% Desk Critiques + Progress: 10% Total: 100%

COURSE INFORMATION // Assignment Briefs

Briefs will be issued for each graded portion of the course in the second week as well as expectations and explanations of how each portion will be evaluated.

01 SITE OBSERVATION + SCOPE OF WORK DOCUMENT // 10% of Final Grade The Scope of Work Document will consist of an outline of the projected agreed upon outcomes and schedule for your semester. This will be done in two parts: + Research + Interrogation- Each site will be documented utilizing tools that students bring from their education in the BDA + BED programs as well as an in class brief on site observations in order to catalog site issues and experience. +Meeting + Revisions- Once design teams are formed to respond to the RFPs and dialogue has been established, there will to a draft and final Scope of Work Document produced which will outline three key pieces of information: 1) Meetings and Presentations Schedule, 2) Projected Outcomes, 3)Design and Organizational Contacts

02 WRITTEN REFLECTIONS // 20% of Final Grade Working in partnership is something that requires energy and self-reflection. In order to capture how we are learning and growing throughout the workshop, members of the design teams will submit a written reflection each week as well as a final reflection for the course. These should be ruminations on strengths, weaknesses, successes, failures, and projecting forward in the partnership on challenges, issues, and outcomes. 03 REMIX PRESENTATION + DELIVERABLE PACKAGES // 10% of Final Grade This brief will be introduced after the Scope of Work has been assembled and approved

04 FINAL PRESENTATION + DELIVERABLE PACKAGES // 40% of Final Grade This brief will be introduced after the Remix Presentations have occurred. 05 PEER + PARTNER EVALUATIONS // 10% of Final Grade Each design team and project partner will evaluate the process of working together and the success of the workshop in fulfilling the Scope of Work Document. This will be a chance to discuss the strengths and weaknesses of the partnerships and identify components that may be improved upon for future collaboration. These will be submitted directly to the instructor but discussed generally during the final class discussion. 06 DESK CRITIQUES + PROGRESS // 10% of Final Grade Each week we will be having desk critiques and progress check-ins during the class period and potentially outside of class according to the Scope of Work for the given organization/project.

COURSE SCHEDULE //

Week One Introductions Monday, March 20 Defining Community Design + Building a Dialogue + Introducing Project Partners Wednesday, March 22 Site Visits Friday, March 24 Project Teams Assigned + Brief 1 issued Week Two Site Findings + Scoping Work Monday, March 27 Scope of Work Introduction + Site Documentation Updates Wednesday, March 29 Scope of Work Due + Desk Critiques Friday, March 31 Site Development + Projections

Week Three Developing a Program Monday, April 3 Case Study Presentation + Large Group Project Meeting Wednesday, April 5 Desk Critiques Friday, April 7 Site Development + Guest Lecture – Equity + Engagement

Week Four // Site + Context REMIX + Digging In Monday, April 10 Large Group Project Meeting + Site Group Meetings Wednesday, April 12 Desk Critiques Friday, April 14 Check-In Presentations + Projections

Week Five // Section + Detail Site Scale + Conceptual Development Monday, April 17 Large Group Project Meeting + Site Group Meetings Wednesday, April 19 Desk Critiques Friday, April 21 Check-In Presentations + Projections

Week Six // Experience Engaging the Section + Materials + Details Monday, April 24 Large Group Project Meeting + Site Group Meetings Wednesday, April 26 Desk Critiques + Guest Presentations/Critiques Friday, April 28 Check-In Presentations + Guest Presentations/Critiques

Week Seven Production + Presentation Monday, May 01 Project Meeting + Production Meetings Wednesday, May 03 Desk Critiques + Production Meetings Friday, May 05 FINAL PRESENTATIONS

LATE WORK POLICY No late work will be accepted, except in the case of bona fide emergencies. Granting work extensions raises issues of fairness all students. Perceptions of unfair treatment should be directed to the instructor and/or the program director. ATTENDANCE POLICY There is a zero tolerance for unexcused absence in studios and workshops, and students are expected to be on time at the beginning of class even for scheduled work days. The final course grade will be lowered for even one unexcused absence, or for repeated late arrivals/early departures. Absence from any scheduled review is very serious and should be avoided. Any students with three or more unexcused absences may be asked to withdraw from the course if the instructor feels they are falling too far behind. This decision will be left to the discretion of the faculty and the program director In case of an emergency, contact your instructor as soon as possible (ideally before the class period missed.) WORKLOAD At the University of Minnesota, one credit represents 4245 hours total (i.e., including lectures, recitations, field work, assignments in and outside of class, and so on) for an average student to meet minimal course requirements and achieve an average grade (C). Professional norms and the nature of design studio activities may require more than an average three hours per week per credit to minimally meet course requirements. A good way to consider minimal workload is to double the contact hours (class time). Thus: 2 credit, module workshop: 6 contact hours, 8-12 hours each week to minimally meet expectations (C grade) 3 credit, module workshop: 9 contact hours, 12-18 hours each week to minimally meet expectations (C grade) 4 credit, full semester workshop: 6 contact hours, 8-12 hours each week to minimally meet expectations (C grade) The related university policy is available at: http://policy.umn.edu/Policies/Education/Education/STUDENTWORK.html More information on BDA workload is available at: http://arch.design.umn.edu/programs/bda/students.html GRADES and GRADING Grading Standards: The nature of design work is highly dependent on evaluations that can only be done when the work is complete. While every attempt will be made to identify and warn students who are working at a level below that required for a passing grade, passing review grades imply only the expectation of a passing final grade, not a guarantee. Grading criteria are based on the following standards: A — Excellent work that not only fulfills the stated objectives of the studio syllabus and project statements, but extends them through new discoveries, insights and proposing issues beyond the stated scope. Students who earn this grade demonstrate through their work a high degree of rigor, a love of exploration, open mindedness and resourcefulness. They also demonstrate that they have developed the ability to build upon a variety of feedback and excel independently. The resultant sequence of work clearly shows educational progress, is rigorously thought through, well crafted and clearly communicates the breadth and depth of their daily investigations. B — Very good that work not only fulfills the stated objectives of the studio syllabus and project statements, but also further expands the stated issues by allowing those issues to direct the investigations and developments in the work. Students who earn this grade demonstrate a medium degree of inquisitiveness, systematic rigor and limited resourcefulness. They show that they are developing the ability to build upon a variety of feedback and their emerging independent voice. The resultant sequence of work is competently thought through, well crafted and clearly communicates the breadth and depth of their daily investigations of the issues presented in the projects. C — Adequate work that fulfills and clearly demonstrates the stated objectives of the workshop syllabus and projects statements. The school expects that everyone entering a BDA workshop is capable of this level of performance. Students who earn this grade demonstrate less self critical and self motivated attitude and their work development requires excessive guidance on what to do next. C work lacks personal authorship manifested through additional and related contributions to the investigations of a project. The adequate student’s work demonstrates an understanding of the problem but show deficiencies in basic design or communication skills, time management, or the lack of breadth and depth of daily investigations. D — Deficient work that does not demonstrate how the stated objectives of the studio syllabus and project statements have been fulfilled. The work is fragmentary, not synthesized, incomplete, and does not show the ability to learn from one’s own mistakes. D work may be the result of a lack of self confidence, a closed minded attitude, a lack of time management skills, or not being able to prioritize academic work.

Incompletes: Per university policy, a grade of "Incomplete" can only be assigned "at the discretion of the instructor when, due to extraordinary circumstances (as determined by the instructor), the student who has successfully completed a substantial portion of the course's work with a passing grade was prevented from completing the work of the course on time." In such a case, the instructor will specify the due dates and other conditions for resolving the Incomplete. Grades of Incomplete automatically lapse to an "F" after one year from the end of the course, unless the instructor agrees to an extension, which will be limited to no more than one year. For more information on grading, see: http://policy.umn.edu/education/gradingtranscripts SUBJECT TO CHANGE Because the nature of design and design instruction can be unpredictable, some of the intended exercises and assignments are subject to change with advance notice, as deemed appropriate by the instructor. Major deadlines, grading standards and policies are not subject to change. MENTAL HEALTH, WELLBEING and STRESS MANAGEMENT As a student you may experience a range of issues that can cause barriers to learning, such as strained relationships, increased anxiety, alcohol/drug problems, feeling down, difficulty concentrating and/or lack of motivation. These mental health concerns or stressful events may lead to diminished academic performance and may reduce your ability to participate in daily activities. University of Minnesota services are available to assist you. You can learn more about the broad range of confidential mental health services available on campus via the Student Mental Health Website: http://www.mentalhealth.umn.edu . SCHOLASTIC CONDUCT Academic dishonesty in any portion of the academic work for a course shall be grounds for awarding a grade of F for the entire course. See information and help defining and avoiding dishonesty, see University Office of Student Conduct and Academic Integrity: http://oscai.umn.edu/avoidviolations/avoidingscholasticdishonesty/ DISABILITY SERVICES and ACCOMMODATIONS Every effort will be made to accommodate students with diagnosed disabilities. Please contact the instructor to initiate a discussion about how we can best help you succeed in this class. This syllabus can also be made available in alternative formats upon request. Further information is available from Disabilities Services (230 McNamara) or at University Disability Accommodations Statement : https://diversity.umn.edu/disability/ SEXUAL HARASSMENT "Sexual harassment" means unwelcome sexual advances, requests for sexual favors, and/or other verbal or physical conduct of a sexual nature. Such conduct has the purpose or effect of unreasonably interfering with an individual's work or academic performance or creating an intimidating, hostile, or offensive working or academic environment in any University activity or program. Such behavior is not acceptable in the University setting. For additional information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/SexHarassment.pdf EQUITY AND DIVERSITY The university provides equal access to and opportunity in its programs and facilities, without regard to race, color, creed, religion, national origin, gender, age, marital status, disability, public assistance status, veteran status, sexual orientation, gender identity, or gender expression. For more information, please consult Board of Regents Policy: http://regents.umn.edu/sites/regents.umn.edu/files/policies/Equity_Diversity_EO_AA.pdf RETENTION OF WORK The College of Design has the right to retain any student project for display, accreditation, archive, documentation or any other educational or legal purpose. In addition, the college reserves the right to reproduce and publish images of any such student work in collegiate publications, printed or electronic, for the purposes of research, scholarship, teaching, publicity and outreach, giving publication credit to the creator/student. Students may be requested by the instructor or program director to submit materials (including process work) for course/program archives. For additional information on copyright ownership of student work, see: https://policy.umn.edu/research/copyright ADDITIONAL UNIVERSITY OF MINNESOTA POLICIES University of Minnesota policies can be found posted in the studio and with more detail at: http://www.policy.umn.edu/Policies/Education/Education/SYLLABUSREQUIREMENTS_APPA.html