Bachelor of Interior Architecture: Courses

Investigates the new field of parametric design, which involves making 3D computer models that have embedded simultaneous equations that modify parts of the model when other parts are changed. Includes the sketching of potential parametric relationships at the beginning of the parametric design process.

Digital output has revolutionized the way we conceive of making. This course explores ways of integrating the CNC (Computer Numeric Control) milling machine into art/design fabrication processes. Enabled by 3D modeling the class explores how and when to utilize the CNC machine in addition to more traditional approaches to making. This class consists of demonstration, discussion, and open shop time to develop CNC based projects. We discuss CNC technology and tooling, materials, as well as the aesthetic of CNC output. This project-based course develops CNC proficiency, and will enable student?s ability to design for digital output. Due to the learning curve necessary to effectively utilize the CNC, this course (or AIADO 5004 ) will serve as a prerequisite to access the CNC. Rhino 4 is our primary interface for CNC output, RhinoCam 2.0 utilized for tool-path generation.

What are the concerns that drive one's creative practice? How does one set the terms for its future development? This course offers strategies for the evaluation and communication of students' individual practice as artists, designers and/or scholars. Through essential readings, studio projects, and writing, students will generate narratives about how and why they make art. To do so, they will investigate methods (visual, critical, written, and creative) for the reconsideration of their work and of its aims and priorities. Individual mentoring with the faculty member is a central and dedicated component of the class as a means of fostering the self-identification of goals and priorities. Students will also examine historical and contemporary precedents that relate to their own work in order to consider the ways in which their individual explorations can be brought into dialogue with other perspectives. Students participate in broad ranging discussions about the present status and future prospects of art and design through workshops, dialogues, and collaborations both in the class and in SAIC-wide conversations with other Sophomore Studio Seminars. An important function of this course is to build upon these insights in forming a practical plan that helps students effectively map the curriculum and resources of SAIC into their own needs. For more information see http://blogs.saic.edu/sophseminar/

Communicating the design idea is as important as creating it. Drawing the idea in perspective is the most widely used means of communication in the architectural profession. Rendering skills enable the designer to take a perspective line drawing to a more realistic, artistic, or expressive level. Freehand perspective, followed by one- and two-point mechanical perspective drawing procedures are covered, in addition to rendering techniques in pencil, colored pencil, pen and ink, transparent and opaque watercolor, markers, crayon, and pastels. Specific methods of mixing and applying the different media to various surfaces are explored.

Design Matters exposes students to a transdisciplinary approach in the shaping of materials in design. Progressing from a series of hands-on making and exploratory studies with materials to the manipulation of material qualities through digital interfaces, students will have the opportunity to develop knowledge and skills in how materials can contribute significantly to the disciplines of Architecture, Interior architecture and Designed Objects. This course is a pre-requisitie for progression to the Second Year, A/IA 2101 Ideas and Spaces or DESOB 2020 Beginning Designed Objects 1.

This course introduces students to the fundamentals of color as it applies to designed environments. Students learn various techniques of choosing and applying color, and conduct experiments in mixing colors, in order to develop a personal color sensibility for designed spaces. The class evaluates how color perception is influenced by natural and artificial light and how these conditions constantly change color. The history of color theory is also reviewed; the contributions of Sir Issac Newton, Johann Wolfgang von Goethe, Hertbert Ives, William Ostwald, Albert Munsell and the development of Pantone.

Drawing, painting, drafting, modeling, and rendering skills are practiced in reference to spatial imaging and manipulation. Beginning digital skills are established in two-dimensional and three-dimensional exercises. Internet access, flatbed scanning, and printing are included. File size management and storage is covered. Weekly exercises guide digital development in spatial exploration.

This seminar explores the nature and potential of design activity (whether in objects, interiors, communications, space or garments). The aim is to give students an increased sense of design possibilities by thinking design 'out of the box'. Utilizing reflection on design by designers, and detailed analysis of examples of recent design projects, the seminar will provide a conceptual map for taking design action in new and critical directions. Students will learn to map, articulate, and present design thinking, and to link new concepts of design to their individual interests in practice. This seminar is complimentary to beginning and intermediate level studio work in designed objects, fashion, interior architecture, architecture, technology and visual communication, and will pay particular attention to the relationship between studio practice in design and the fine arts.

Investigates the new field of parametric design, which involves making 3D computer models that have embedded simultaneous equations that modify parts of the model when other parts are changed. Includes the sketching of potential parametric relationships at the beginning of the parametric design process.

Fluid Interfaces exist between the blurred boundaries of the body and architecture. By cutting across the various fields of design activity in the disciplines of Architecture and Fashion the class will examine the sharing of ideas in layered languages dealing with content and form, object and space, surface and material, communication and representation. Through various forms of imagery and translation of arguments, texts, models, graphic representations and actual garments, students will explore relationships between shelter and garment. As Architecture gives space through form and structure, inside and outside, garments act as second skins which move form and structure through the experience of the body.

This team taught seminar explores contemporary discourses about landscape as it has developed from the unexplored, to the dominated; from picturesque agrarian to urban. Land as territory, once understood as fixed and bounded, is open, fluid, interactive, chaotic, and in constant flux with the architecture and infrastructure it is asked to support. Landscapes are physical, environmental, and virtual, existing in electronic space, within nature's cycles, and defined and mediated through interactive information and knowledge communication networks. Landscapes, Territory, Fields questions social, political and economic frameworks which inform contemporary configuration of territories and develops awareness and critical understanding of physical and social processes that define and effect changes in place over time .

GFRY Design Studio: A Room with a View: Urban Data Observatory All economies are converging - natural, social, cultural and material. Detecting, measuring, augmenting and managing the flow of objects, energy, data and events within and through these economies, in order to make places for people to reside, thrive and interact, is the function of the sustainable city. The GFRY Studio will broadly interrogate observation and detection environments in order to develop the design framework for proposing new, infrastructural demo projects for Chicago - places that integrate measure and material for a sustainable city. The studio will specifically consider the challenge of new city infrastructures and informatics and will explore how participatory, embedded and ubiquitous sensing / computing can improve both the experience and persistence of a resilient Chicago.

Thing Lab provides a critical, hands-on exploration of the intersection between design and art in a truly interdisciplinary learning environment. Students from design, art, and writing backgrounds will create works that address the convergence of design and art, engaging and perhaps questioning the market forces of taste-making and power relationships in the world of collecting. The studio will culminate in a group exhibition at a major national or international art fair.

Working directly with stage designers, playwrights and directors in stage productions of performances, students work collaboratively to interpret text and organize space, lights, props, costumes, and mechanisms in relationship to performers and audience. This class is open to students from all disciplines: no previous design/drafting background is required. Experience in performance or theater is preferred.

Linking the disciplines of Fiber and Material Studies and Architecture, this collaboratively taught course brings together an artist and an architect. The course is a test kitchen for material explorations that propel and inform the gestures of line, plane, form, structure and action via material studies and prototypes. Students are required to invent physical systems that service the production of work; research, design and art. Studio work blends the hand and machine.

Using the city as a laboratory, this class explores different approaches to 'reading and listening' to multiple forms of architecture and design. Through lectures, discussions, site visits and assignments students experience how to identify a design's intent and to take an active role in communicating the intent from a critical, value-based perspective.

An introductory study of the principals and elements of structure in the art of architecture. Investigates structural analysis and calculation, and the underlying concepts which have created sublime architecture throughout history. Painting, sculpture, literature, philosophy, film, and other examples reveal the motivations and creative structural solutions which are embodied within architectural space and form. Intended for students who aspire to become architects, and anyone desiring an understanding of how and why things stand up, with no structural prerequisites.

Eco Design focuses on the relationships between object and space, architecture and cities, and society and landscapes, and the ecological perspective in design. Emphasis is on current international practices with place-based public projects implementing immediate change. Through professional partnership with Earth Day Network and other Global Action organizations, this fast-moving studio seminar introduces students to the eco web community, connecting to and advocating for environmental design intelligence around the world. Examining design across all scales, students acquire skills in strategic public planning to address the residuals of the industrial era in a postindustrial environment. Readings include works by Davis, Louv, Leopold, Capra, Orr, and others and coincide with 2007 National Environmental Education Standards. Class assignments include direct interaction with Urban Ecology and Environmental Education organizations.

Seminar investigates and teaches parametric software for building design and construction, including BIM (building information modeling), that can provide programmed areas, code compliance and cost estimates early in the design process. Includes the creation of parametric families and the modification of family tools for customized building elements.

Architecture shapes our experience of the social world. This course introduces the processes and practice of thinking and making architecture to students interested in the built environment. Thinking through architecture provides opportunities to envision change, physically and virtually, and demands that standards develop in relation to working in the public realm. Topics covered include negotiating between the artificial and the natural, the imagined and the built, structures, materials, and technologies exemplified in historical practices. Field trips, on site lectures,and class projects will give students an overview of the science and art of architecture.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

This course teaches introductory design communication skills. Studio exercises focus on analog methods of drawing and modeling design ideas and introduce the range of digital tools that can be used to make visual representations of ideas at various stages in the design process. Instruction covers the use of 2D digital communication tools, specifically the Adobe suite - Photoshop, Illustrator, In-design and Acrobat; and time-based presentation media such as I-movie, Powerpoint, Keynote or Flash. This lab helps students develop a basic vocabulary of techniques and approaches for visualizing concepts and making compelling visual and oral design presentations.

Materials for interiors drawing, painting, drafting, modeling, and rendering skills are practiced in reference to spatial imaging and manipulation. Beginning digital skills are established in two-dimensional and three-dimensional exercises. Internet access, flatbed scanning, and printing are included. File size management and storage is covered. Weekly exercises guide digital development in spatial exploration.

Introduces the significance of the program as part of the design process. Re-programming, trans-programming, and cross-programming are introduced as techniques for transforming the specificity of the design 'problem' into a larger field of design possibilities. Emphasizes research, data collection, and the creative transformation of information into diagrams for design action.

This course explores philosophy, architectural and design theory, and communication and architectural criticism, particularly their interdependence and relevance to the creative act. This course examines and discusses the historic and current dialogue and rhetoric of designers, architects, philosophers, and critics and explores the relationship of the individual designer's work to this body of information.

What does the world look like today? How can you explore the world as an object designer? This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance. Through a sequence of studio exercises students will examine the design of existing artifacts as well as develop ideas for new kinds of objects, products, interactions and systems. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer.

What does the world look like today? How can you explore the world as an object designer? This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance. Through a sequence of studio exercises students will examine the design of existing artifacts as well as develop ideas for new kinds of objects, products, interactions and systems. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer.

This course is for beginning designers and provides students with the technical and conceptual tools to express their ideas more effectively in 2D, 3D and 4D. This class concentrates on drawing for invention and developing a process of working fluidly between digital and analog methods. Techniques covered include conceptual sketching in 2D using Adobe Illustrator and Photoshop; 2D page layout and composition using In-design; 3D sketch-modeling using 3D design software; and visualizations of time based concepts using flash or another time-based design tool. Some physical modeling and sketching is also included in the class.

Design ideas and evolving concepts such as an object's form, function, volume, components, assembly and materiality are introduced to beginning level design students. Instruction focuses on a variety of 2D media (black/white and colored) but also includes basic instruction on using digital drawing software (Illustrator and Photoshop). Specific methods introduced in this class include freehand sketching for ideation, shaded and colored rendering, orthographic projection (plans, elevations and sections), one- and two-point perspective, and measured technical drawing. This course is most valuable when taken prior to DES OB 2006 Object Communication.

Design ideas and evolving concepts such as an object's form, function, volume, components, assembly and materiality are introduced to beginning level design students. Instruction focuses on a variety of 2D media (black/white and colored) but also includes basic instruction on using digital drawing software (Illustrator and Photoshop). Specific methods introduced in this class include freehand sketching for ideation, shaded and colored rendering, orthographic projection (plans, elevations and sections), one- and two-point perspective, and measured technical drawing. This course is most valuable when taken prior to DES OB 2006 Object Communication.

Through a series of hands-on technical exercises and material investigations, students gain an understanding of the basic principles and practices of furniture construction with a focus on wood. Specifically, the course provides extensive technical training in hand tools, portable power tools, and stationary woodworking machinery. The course provides students with the knowledge necessary to make basic practical decisions about material and fabrication issues related to their design concepts.

Through a series of hands-on technical exercises and material investigations, students gain an understanding of the basic principles and practices of furniture construction with a focus on wood. Specifically, the course provides extensive technical training in hand tools, portable power tools, and stationary woodworking machinery. The course provides students with the knowledge necessary to make basic practical decisions about material and fabrication issues related to their design concepts.

This studio introduces various techniques used in visually describing an object, from drawing by hand to using digital tools. The course covers methods appropriate to the three main phases of the design process-Ideation, Explanation, and Persuasion. Students begin with techniques for producing quick and explorative sketches to clearly communicate basic object form and function. The next phase is design development and the creation of illustrations to explain aspects of the design such as surface, form, texture, materials, functionality, construction and part-assemblage among many others details. In the final phase, the emphasis changes to presenting the design through visual compositions that combine a rendered, realistic representation of the object, and expressive techniques to convey mood, feeling, or location.

The beginning course in the DESOB studio sequence focuses on the methods and motivations of the designer: How does one create objects that are useful, useable, meaningful and desirable? This question is explored through a four-field approach, accounting for the various intentions of the object designer: Commercial Design, Responsible Design, Experimental Design, and Discursive Design. Conceived as essential to an informed design process, basic research theories and methods are introduced and debated and then applied toward studio projects. Importantly, students gain experience in using their interests, research findings, and inspiration to first define for themselves a design problem/opportunity before setting out to solve/address it. Students advance through definition, research, ideation, sketching, and modeling phases toward two- and three-dimensional representations (digital and physical) of their work that are orally defended during group critique.

Within the context of studio assignments, students develop basic skills in design drawing, concept development, 3D fabrication and presentation techniques appropriate for furniture design and object-making. Weekly exercises include material explorations, form studies and model making. The work and process of contemporary and historical designers are examined through lectures, assigned readings and student led discussions. Field trips to local furniture design studios, fabrication facilities and showrooms introduce students to the profession. This course prepares students for further work in furniture and object design.

As more products include displays, functionality and intelligence, they can become increasingly difficult to operate, and are more challenging to design. Through presentations and discussions, this studio-seminar introduces methods to understand the functions of a device, its relationship with users and communication techniques. The exercises in this studio are to illustrate an understanding of each step in a user interface development process. The activities include research, diagramming, graphic development, and prototyping. The design solutions are reviewed and critiqued with the class.

The second course in the DES OB studio sequence focuses in on the object itself: What does it do, what does it say? How do objects convey ideas? The shape, volume, surface and color of an object constitute its overall visual aesthetic and can communicate the object?s use, utility, significance and value. Studio projects focus heavily on the analysis, study, exploration and refinement of 3D form, and engage students in a variety of methods for producing iterative study models and prototypes. In parallel to this practical work, students will be introduced to relevant theoretical approaches, including semiotics, through readings and group discussions. The goal of this course if to teach students how to control the semantic, formal and aesthetic dimensions of their design work so that it communicate the story of the designer, brand or company to the intended users/consumers.

A hands-on studio introduction to the full sprectrum of analog and digital approaches to metal working. Digital drafting, modeling and machining processes are taught seemlessly in tandem with classic metalsmithing techniques. Three assignments together produce one family of objects. Methods covered include designing prototypes using the following techniques: CNC wax milling and lost wax casting, laser cutting non-conforming acrylic dies for hydraulic press use, and generating 2D templates from unfolded 3D digital models. Lectures, readings, and demonstrations augment production on the hydraulic press, roll former, laser cutter, CNC, and milling machine. Software: Rhino 4.

This introductory course takes students on a journey through the changing landscape of ceramics, design and production. Recent advances in prototyping technologies provide designers and artists with more direct means for transforming concepts into physical form. This shift in the relationship of the `one-off? to the `multiple? creates space for a high level of formal experimentation and material investigation. Students will acquire basic skills in mold making, slip casting, 3D digital modeling and digital output. Due to the high degree of technical learning required for the successful creation of prototypes, the studio projects will primarily be collaborative. At the end of this course students will have produced ceramic pieces derived from digital models and prototypes. Students enrolling for this course must have a laptop with 3D software (preferably sketch-up or rhino).

This initial course introduces students to Rhinoceros, a 3D modeling software used by product/object designers. Instruction covers intensive training in 3D modeling and introduction to various precision model-making methods such as CNC and 2d folded models. Students registering for this class must have a MacBook Pro with at least an Intel 1.83GHz processor, 2GB RAM and an 80GB hard drive. Students with a qualifying laptop will have access to a dual-boot software template and additional support and basic training. TECHNOLOGY INSTALLATION: Installing the dual-boot software template requires erasing your hard drive, including all of your data. Please be sure to back up all of your data before scheduling a templating session with the CRIT Help Desk.

This initial course introduces students to Rhinoceros, a 3D modeling software used by product/object designers. Instruction covers intensive training in 3D modeling and introduction to various precision model-making methods such as CNC and 2d folded models. Students registering for this class must have a MacBook Pro with at least an Intel 1.83GHz processor, 2GB RAM and an 80GB hard drive. Students with a qualifying laptop will have access to a dual-boot software template and additional support and basic training. TECHNOLOGY INSTALLATION: Installing the dual-boot software template requires erasing your hard drive, including all of your data. Please be sure to back up all of your data before scheduling a templating session with the CRIT Help Desk.

In the second Digital Modeling and Fabrication class students will be challenged to produce advanced level projects using digital modeling. The goal is to develop the student's ability to create industry level outputs focusing on complex digital modeling in Rhino and photo-realistic rendering using Maxwell. Students will also work on advanced model-making such as digital outputs (rapid prototyping) and inputs (3 d Scanning). Students registering for this class must have a MacBook Pro with at least an Intel 1.83 GHz processor, 2 GB RAM and an 80 GB hard drive. Students with a qualifying laptop will have access to a dual-boot software template and additional support and basic training. TECHNOLOGY INSTALLATION: Installing the dual-boot software template requires erasing your hard drive, including all of your data. Please be sure to back up all of your data before scheduling a templating session with the CRIT help desk.

Digital output has revolutionized the way we conceive of making. This course explores ways of integrating the CNC (Computer Numeric Control) milling machine into art/design fabrication processes. Enabled by 3D modeling the class explores how and when to utilize the CNC machine in addition to more traditional approaches to making. This class consists of demonstration, discussion, and open shop time to develop CNC based projects. We discuss CNC technology and tooling, materials, as well as the aesthetic of CNC output. This project-based course develops CNC proficiency, and will enable student?s ability to design for digital output. Due to the learning curve necessary to effectively utilize the CNC, this course (or AIADO 5004 ) will serve as a prerequisite to access the CNC. Rhino 4 is our primary interface for CNC output, RhinoCam 2.0 utilized for tool-path generation.

Digital output has revolutionized the way we conceive of making. This course explores ways of integrating the CNC (Computer Numeric Control) milling machine into art/design fabrication processes. Enabled by 3D modeling the class explores how and when to utilize the CNC machine in addition to more traditional approaches to making. This class consists of demonstration, discussion, and open shop time to develop CNC based projects. We discuss CNC technology and tooling, materials, as well as the aesthetic of CNC output. This project-based course develops CNC proficiency, and will enable student?s ability to design for digital output. Due to the learning curve necessary to effectively utilize the CNC, this course (or AIADO 5004 ) will serve as a prerequisite to access the CNC. Rhino 4 is our primary interface for CNC output, RhinoCam 2.0 utilized for tool-path generation.

In this studio course the concept of network will be introduced and applied to the design of communication networks for everyday objects. The course implies no previous experience of computers, rather it will introduce students to methods for creating conceptual models of a network, and will introduce the use of the computer to simulate everyday objects communicating on the network model. Forms of communication will be explored based upon object characteristics. Object designs will be modified to include networking, which will impact the properties and behaviors of the objects. Using multiple computers and moving them around, students will study the impact of space on situated networks, and the impact of networks on different spaces. In the final project students will design a space, a network for the space, and the objects that inhabit the space/network, showing how each of three design has a working relationship with the others.

The Industry Partners Studio is a structured collaboration between SAIC's Designed Objects program and local/ international corporate entities, especially product manufacturers, material manufacturers, and retail enterprises. This semester-long course engages select mid- and upper-level undergraduate and graduate students with the particular concerns and constraints of 'real-world' projects. Specific design problems/ opportunities are defined by Industry Partners and require students to embrace the limitations of, for example: specific manufacturing methods and materials, identified commercial trends, narrow consumer profiles, tight price points, and rigid brand identity. The studio situates itself as a valuable partner with industry, one capable of contributing to the development of fairly typical, but widely varied commercial ventures with the freshness and diversity of perspectives found in our enthusiastic student body. Students are admitted via a portfolio application reviewed by the faculty.

This studio-seminar provides upper level students with an immersion into current issues related to contemporary practice in the field of product and object design, design interaction and design for sustainability. Foregrounding high leverage tactics each student will imagine and shape a values-driven platform for their emerging professional practice. Topics covered include, the multiple roles of the designer in a contingent world; the dialectic of sustainability (creation and destruction); technology and artifice; design advocacy; design politics; design action and rhetoric.

The event is emerging as a new arena for design experimentation. Because they are so immediate, events pose a new challenge for designers: they must create on the spot, without belaboring technique, fabrication and form. This frees them to consider, with energy, the ways that experience can be redefined and re-imagined. This course will explore these ideas through production, beginning with four one-week exercises and culminating in a final public event.

This fourth and final course in the DESOB studio sequence course provides a structured studio environment for advanced-level students to develop, refine, and execute an individual design project. The goal is for each student to progress a project from the conceptual design stage, through design development (user-research, iterative modeling and prototyping, narratives of use, etc.) to the actualization of a design that can be tested and presented for peer and public review. To this end, students are challenged to develop concise and persuasive arguments regarding the motivation, development, execution, and dissemination of their design project. By presenting their work to external audiences (peers, invited jurors, potential end-users) students gain valuable insights into the wider contextual factors that bear on the range of outcomes, manufacturability, marketing and distribution of their designs. Through articulation and advocacy of their design work in the public realm, students define their role as a dynamic catalyst operating within real-world social-, political-, monetary-, and cultural-economies.

In this course each student will focus on advancing the design (layout, graphics, narratives, flow) of their portfolio so that it best conveys their individual design skills, experience and interests. Students will produce materials appropriate for delivery of their work across multiple formats (print, digital, web, etc), will learn how to edit/arrange their materials to suit the specific context of application, and will create consistent design elements that can be shared across the full range of professional materials from portfolio, to website, to business cards and other promotional materials. This course is ideal for students preparing for internships and seniors preparing for design practice and can be repeated.

This seminar explores the critical and practical aspects of professional practice through Independent Design; studios, brands, and manufacturers run by the designers themselves. Conversations with visiting designers and related professionals give a behind-the-scenes look at contemporary models of design practice. In addition to a critical look at Independent Design, students are introduced to tools-of-the-trade, such as intellectual property, promotion, positioning and work to develop their own professional pathway through research, personal investigation and presentation.

An introduction to the theory and practice of the profession of interior architecture. Lectures, demonstrations, and studio exercises explore the basics of designing interior spaces-from color and light to the process of design. Emphasis is on idea-making techniques through conceptual sketching and analysis. Field trips to Chicago's landmark buildings, museums, and design offices are included. This course is a required first step in the interior architecture design sequence, as well as an opportunity to learn about the profession before committing to the intensive post-foundation curriculum.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

This course teaches introductory design communication skills. Studio exercises focus on analog methods of drawing and modeling design ideas and introduce the range of digital tools that can be used to make visual representations of ideas at various stages in the design process. Instruction covers the use of 2D digital communication tools, specifically the Adobe suite - Photoshop, Illustrator, In-design and Acrobat; and time-based presentation media such as I-movie, Powerpoint, Keynote or Flash. This lab helps students develop a basic vocabulary of techniques and approaches for visualizing concepts and making compelling visual and oral design presentations.

A continuation of INARC 2101.

A continuation of INARC 2101.

Lighting, together with color, is the most powerful tool in creating an interior space. This studio course prepares the student technically to use lighting creatively by exercises covering natural and artificial lighting terminology and techniques, color and light, principles of light, light sources and fixtures, the lighting design process, and the measurement and control of light. The department's lighting lab, one of the few in the country, allows for the creation of actual lighting demonstrations. Demonstrations, lectures, visiting speakers, and field trips to outstanding examples of lighting installations in stores, museums, and office buildings are included.

Lighting, together with color, is the most powerful tool in creating an interior space. This studio course prepares the student technically to use lighting creatively by exercises covering natural and artificial lighting terminology and techniques, color and light, principles of light, light sources and fixtures, the lighting design process, and the measurement and control of light. The department's lighting lab, one of the few in the country, allows for the creation of actual lighting demonstrations. Demonstrations, lectures, visiting speakers, and field trips to outstanding examples of lighting installations in stores, museums, and office buildings are included.

This research seminar investigates and examines materials used in the creation and completion of interior space. Emphasis is on historical context, style, and design influences, theatrical applications, creative use of materials, and techniques of material construction, with attention to detailing. Students attend and participate in lectures, field trips, and research assignments. Through a series of design assignments, from small-scale space transformations to full-scale installations, students develop technical and design expertise.

A continuation of INARC 3001.

A continuation of INARC 4001.

This course explores philosophy, architectural and design theory, and communication and architectural criticism, particularly their interdependence and relevance to the creative act. This course examines and discusses the historic and current dialogue and rhetoric of designers, architects, philosophers, and critics and explores the relationship of the individual designer's work to this body of information.

Visionary Drawing combines research and studio practice in the exploration of drawings and images that are uniquely compelling and have the power to advance visionary proposals in the realms of architecture, interior architecture and the more ephemeral landscapes of our dreams. The studio/seminar explores historic and contemporary sources while combining active studio practice by making drawings of proposals for spaces, buildings, sculptures and future monuments. We examine the works of artists, architects, filmmakers and mystics for crucial examples. Students have the opportunity to create their own studies, proposals and visionary drawings. ?????

This course surveys various approaches, practices, materials, techniques, and technology used by designers and manufactures in the production of furniture. From the small shop artisan, to larger companies producing multiple lines, a full range of furniture production will be examined including upholstery, case goods, seating, and tables. Students will participate in field trips to observe the relationship between design and manufacturing, and see the different phases of designing and manufacturing furniture. The class will learn about the distinctions in designing for the Residential market and the Contract market, while exploring the key steps in designing furniture on a royalty basis for manufacturers. The course culminates with each student designing a piece or grouping of furniture suited to one of the observed market systems. By the end of the semester each student will have produced a professional set of scale drawings describing their furniture designs as is typical of the process by which designers submit their ideas to the manufacturing industry. Previous experience with design drawing and/or furniture design is desirable.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

This course explores historic and contemporary artist and designers across cultures that have significantly influenced our lives through their creativity. It addresses how art and design are both developed out of one?s culture and in turn influence it. The course engages our awareness of how we appreciate and gain knowledge of social culture through art and design. Discussions and short written critiques will follow the study of films, music, architecture, short stories/poetry and fine art.

Design Matters exposes students to a transdisciplinary approach in the shaping of materials in design. Progressing from a series of hands-on making and exploratory studies with materials to the manipulation of material qualities through digital interfaces, students will have the opportunity to develop knowledge and skills in how materials can contribute significantly to the disciplines of Architecture, Interior architecture and Designed Objects. This course is a pre-requisitie for progression to the Second Year, A/IA 2101 Ideas and Spaces or DESOB 2020 Beginning Designed Objects 1.

Design Matters exposes students to a transdisciplinary approach in the shaping of materials in design. Progressing from a series of hands-on making and exploratory studies with materials to the manipulation of material qualities through digital interfaces, students will have the opportunity to develop knowledge and skills in how materials can contribute significantly to the disciplines of Architecture, Interior architecture and Designed Objects. This course is a pre-requisitie for progression to the Second Year, A/IA 2101 Ideas and Spaces or DESOB 2020 Beginning Designed Objects 1.

Design Matters exposes students to a transdisciplinary approach in the shaping of materials in design. Progressing from a series of hands-on making and exploratory studies with materials to the manipulation of material qualities through digital interfaces, students will have the opportunity to develop knowledge and skills in how materials can contribute significantly to the disciplines of Architecture, Interior architecture and Designed Objects. This course is a pre-requisitie for progression to the Second Year, A/IA 2101 Ideas and Spaces or DESOB 2020 Beginning Designed Objects 1.

Design Matters exposes students to a transdisciplinary approach in the shaping of materials in design. Progressing from a series of hands-on making and exploratory studies with materials to the manipulation of material qualities through digital interfaces, students will have the opportunity to develop knowledge and skills in how materials can contribute significantly to the disciplines of Architecture, Interior architecture and Designed Objects. This course is a pre-requisitie for progression to the Second Year, A/IA 2101 Ideas and Spaces or DESOB 2020 Beginning Designed Objects 1.

Drawing, painting, drafting, modeling, and rendering skills are practiced in reference to spatial imaging and manipulation. Beginning digital skills are established in two-dimensional and three-dimensional exercises. Internet access, flatbed scanning, and printing are included. File size management and storage is covered. Weekly exercises guide digital development in spatial exploration.

This seminar explores the nature and potential of design activity (whether in objects, interiors, communications, space or garments). The aim is to give students an increased sense of design possibilities by thinking design 'out of the box'. Utilizing reflection on design by designers, and detailed analysis of examples of recent design projects, the seminar will provide a conceptual map for taking design action in new and critical directions. Students will learn to map, articulate, and present design thinking, and to link new concepts of design to their individual interests in practice. This seminar is complimentary to beginning and intermediate level studio work in designed objects, fashion, interior architecture, architecture, technology and visual communication, and will pay particular attention to the relationship between studio practice in design and the fine arts.

Presents an overview of human factors critical for all 3D designers: ergonomic, anthropomorphic, demographic, anthropological, cultural, and the basics of behavioral science. Students research basic human needs, desires, and behaviors by experiencing, documenting, mapping, and presenting their research.

This seminar will investigate alternative and green materials available to artists, designers, and architects. Rethinking use, consumption, and life cycle energy expenditure in everyday living, students will be introduced to materials and systems used in the fields of fashion, industrial design, interior architecture, building and fine arts. Lectures by visiting professionals and field trips to Chicago's Green Center, the Center for Neighborhood Technology, the Environmental Law and Policy Center, and environmental manufacturers and sites will expand students' awareness and understanding of sustainable materials and processes. Theoretical and technical readings will support student projects and group research.

Visionary Drawing combines research and studio practice in the exploration of drawings and images that are uniquely compelling and have the power to advance visionary proposals in the realms of architecture, interior architecture and the more ephemeral landscapes of our dreams. The studio/seminar explores historic and contemporary sources while combining active studio practice by making drawings of proposals for spaces, buildings, sculptures and future monuments. We examine the works of artists, architects, filmmakers and mystics for crucial examples. Students have the opportunity to create their own studies, proposals and visionary drawings. ?????

Investigates the new field of parametric design, which involves making 3D computer models that have embedded simultaneous equations that modify parts of the model when other parts are changed. Includes the sketching of potential parametric relationships at the beginning of the parametric design process.

This class offers an overview of the art of setting the stage. Review of precedents in design for opera, theater, and performance is complemented with backstage tours of theaters and guest lectures by Chicago designers and directors. Students are introduced to theatrical lighting, stage set construction, materials, and techniques. Several short design assignments give students the opportunity to experience handmade and digital constructs, while exercising their analytical and creative skills. This class is open to students from all disciplines: no previous design/drafting background is required.

Runway Meets Runway is an excursion into the intersection of fashion and object design into the accessories and technologies that we wear, carry on and carry with. Working equally in the Fashion Department and AIADO, the students use investigation, iteration and innovation to design and fabricate a collection of accessory designs using traditional and digital tools from both worlds of fashion and of product design

The aim of this course is to develop the skills necessary to explore, think about, and design responsive and interactive architecture based on biomimetic processes. Exposing students to innovative ways of thinking about design in terms of adaptability, they are challenged to create architecture that can physically re-configure itself to meet changing needs. The central issues explored are human and environmental interaction, embedded computational infrastructures, physical control mechanisms and the processes that architects and designers can use in creating and demonstrating such systems. Student work will culminate in a grand challenge focusing on next generation sustainable architecture requiring the implementation of topics and skills covered in this course.

The Mixed Reality Architecture studio-seminar will research contemporary practices of media, art and architecture. Projects studied and produced will address synthetic ecologies and proactive environments at the intersection of virtual and physical space. The studio merges the mandates of a research lab, a think tank and a design studio, incorporating contemporary media into the practice of architecture and art to create entirely new types of spaces and environments that are informative, interactive but also theatrical or illusory.

This team taught seminar explores contemporary discourses about landscape as it has developed from the unexplored, to the dominated; from picturesque agrarian to urban. Land as territory, once understood as fixed and bounded, is open, fluid, interactive, chaotic, and in constant flux with the architecture and infrastructure it is asked to support. Landscapes are physical, environmental, and virtual, existing in electronic space, within nature's cycles, and defined and mediated through interactive information and knowledge communication networks. Landscapes, Territory, Fields questions social, political and economic frameworks which inform contemporary configuration of territories and develops awareness and critical understanding of physical and social processes that define and effect changes in place over time .

In this course, students learn how to apply creative skills in a practical setting to include a full understanding of the design process (Schematic Design, Design Development, Construction Documentation, Bidding Process, Value Engineering, Construction, Construction Management, Punch List & Follow up, the significance of specifications, the necessity of contracts and the importance of being able to convey your design ideas to your client successfully. The course also includes exposure to general and emerging business practices, and ethical considerations involved in practicing interior design professionally. Course includes portfolio building, resume writing, interview techniques, presentation skills, professional office visits, and a professional interview as their final exam.

PUBLI?ITY: A collaborative act of creativity, forging new models for public space, pocket parks and 'micro-city' environments, with/by/for city stakeholders. PUBLI?ITY harnesses interdisciplinary intelligence to design a multiuse public park that fuses municipal, educational, cultural and citizen needs, using technology and social networking as proactive tools to engage local stakeholders interests, while advancing business investment, and increasing City of Chicago's capabilities as a leading sustainable city. PUBLI?ITY will travel to international cities to study cultural commons and produce a Chicago 'manual of style' pattern book on cooperative public/private city design, using a Chicago lot as prototype.

Thing Lab provides a critical, hands-on exploration of the intersection between design and art in a truly interdisciplinary learning environment. Students from design, art, and writing backgrounds will create works that address the convergence of design and art, engaging and perhaps questioning the market forces of taste-making and power relationships in the world of collecting. The studio will culminate in a group exhibition at a major national or international art fair.

Linking the disciplines of Fiber and Material Studies and Architecture, this collaboratively taught course brings together an artist and an architect. The course is a test kitchen for material explorations that propel and inform the gestures of line, plane, form, structure and action via material studies and prototypes. Students are required to invent physical systems that service the production of work; research, design and art. Studio work blends the hand and machine.

Architecture shapes our experience of the social world. This course introduces the processes and practice of thinking and making architecture to students interested in the built environment. Thinking through architecture provides opportunities to envision change, physically and virtually, and demands that standards develop in relation to working in the public realm. Topics covered include negotiating between the artificial and the natural, the imagined and the built, structures, materials, and technologies exemplified in historical practices. Field trips, on site lectures,and class projects will give students an overview of the science and art of architecture.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

This course teaches introductory design communication skills. Studio exercises focus on analog methods of drawing and modeling design ideas and introduce the range of digital tools that can be used to make visual representations of ideas at various stages in the design process. Instruction covers the use of 2D digital communication tools, specifically the Adobe suite - Photoshop, Illustrator, In-design and Acrobat; and time-based presentation media such as I-movie, Powerpoint, Keynote or Flash. This lab helps students develop a basic vocabulary of techniques and approaches for visualizing concepts and making compelling visual and oral design presentations.

This team taught studio is the prerequisite for additional coursework in Architecture and Interior Architecture. Students learn about the process of designing and the processes involved in representing and configuring a design idea. Finally, they confront the necessity of critically processing and analyzing their own designs as well as those of others. Emphasis is placed on understanding spatial relationships, movements in space and spatial sequencing within single spaces. A series of short projects focus on space and interiority, rather than objects and form. The course encourages experimentation while providing an analytic framework for developing an understanding of structure and materials as well as skills in drawing, model making.

This team taught studio is the prerequisite for additional coursework in Architecture and Interior Architecture. Students learn about the process of designing and the processes involved in representing and configuring a design idea. Finally, they confront the necessity of critically processing and analyzing their own designs as well as those of others. Emphasis is placed on understanding spatial relationships, movements in space and spatial sequencing within single spaces. A series of short projects focus on space and interiority, rather than objects and form. The course encourages experimentation while providing an analytic framework for developing an understanding of structure and materials as well as skills in drawing, model making.

This seminar introduces students' to design problem definition, design process and the logic behind design problem frameworks. The arguments are grounded through an understanding of design criticism and by looking at foundational historic and contemporary convergences in critical design thinking. The seminar is specifically conceived in conjunction with the second year core design studios and as the first part of a thread of knowledge aimed at substantiating the central role of design thinking in the undergraduate curricula.

Covers designing with the body/dwelling relationship at multiple scales: the hand, the body, the unit, and the collective; contextual ('living-with') relationships; problems and possibilities of standardized construction materials and methods; complexities of building systems; housing history and social policy.

This class provides a 4th year capstone experience for the students who have come through the architecture pathway's first three years.

This course explores philosophy, architectural and design theory, and communication and architectural criticism, particularly their interdependence and relevance to the creative act. This course examines and discusses the historic and current dialogue and rhetoric of designers, architects, philosophers, and critics and explores the relationship of the individual designer's work to this body of information.

This course explores philosophy, architectural and design theory, and communication and architectural criticism, particularly their interdependence and relevance to the creative act. This course examines and discusses the historic and current dialogue and rhetoric of designers, architects, philosophers, and critics and explores the relationship of the individual designer's work to this body of information.

What does the world look like today? How can you explore the world as an object designer? This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance. Through a sequence of studio exercises students will examine the design of existing artifacts as well as develop ideas for new kinds of objects, products, interactions and systems. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer.

What does the world look like today? How can you explore the world as an object designer? This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance. Through a sequence of studio exercises students will examine the design of existing artifacts as well as develop ideas for new kinds of objects, products, interactions and systems. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer.

What does the world look like today? How can you explore the world as an object designer? This course introduces students to the creative scope of the Designed Objects program, and the ideas, skills, and methods used in the process of designing objects. Students will learn about the design of objects by studying their form, function, assembly, materiality, use, value and significance. Through a sequence of studio exercises students will examine the design of existing artifacts as well as develop ideas for new kinds of objects, products, interactions and systems. The goal of this class is to help students imagine the possibilities of the object design field and identify their aptitude for becoming an object designer.

This course is for beginning designers and provides students with the technical and conceptual tools to express their ideas more effectively in 2D, 3D and 4D. This class concentrates on drawing for invention and developing a process of working fluidly between digital and analog methods. Techniques covered include conceptual sketching in 2D using Adobe Illustrator and Photoshop; 2D page layout and composition using In-design; 3D sketch-modeling using 3D design software; and visualizations of time based concepts using flash or another time-based design tool. Some physical modeling and sketching is also included in the class.

Design ideas and evolving concepts such as an object's form, function, volume, components, assembly and materiality are introduced to beginning level design students. Instruction focuses on a variety of 2D media (black/white and colored) but also includes basic instruction on using digital drawing software (Illustrator and Photoshop). Specific methods introduced in this class include freehand sketching for ideation, shaded and colored rendering, orthographic projection (plans, elevations and sections), one- and two-point perspective, and measured technical drawing. This course is most valuable when taken prior to DES OB 2006 Object Communication.

Design ideas and evolving concepts such as an object's form, function, volume, components, assembly and materiality are introduced to beginning level design students. Instruction focuses on a variety of 2D media (black/white and colored) but also includes basic instruction on using digital drawing software (Illustrator and Photoshop). Specific methods introduced in this class include freehand sketching for ideation, shaded and colored rendering, orthographic projection (plans, elevations and sections), one- and two-point perspective, and measured technical drawing. This course is most valuable when taken prior to DES OB 2006 Object Communication.

Through a series of hands-on technical exercises and material investigations, students gain an understanding of the basic principles and practices of furniture construction with a focus on wood. Specifically, the course provides extensive technical training in hand tools, portable power tools, and stationary woodworking machinery. The course provides students with the knowledge necessary to make basic practical decisions about material and fabrication issues related to their design concepts.

The beginning course in the DESOB studio sequence focuses on the methods and motivations of the designer: How does one create objects that are useful, useable, meaningful and desirable? This question is explored through a four-field approach, accounting for the various intentions of the object designer: Commercial Design, Responsible Design, Experimental Design, and Discursive Design. Conceived as essential to an informed design process, basic research theories and methods are introduced and debated and then applied toward studio projects. Importantly, students gain experience in using their interests, research findings, and inspiration to first define for themselves a design problem/opportunity before setting out to solve/address it. Students advance through definition, research, ideation, sketching, and modeling phases toward two- and three-dimensional representations (digital and physical) of their work that are orally defended during group critique.

Within the context of studio assignments, students develop basic skills in design drawing, concept development, 3D fabrication and presentation techniques appropriate for furniture design and object-making. Weekly exercises include material explorations, form studies and model making. The work and process of contemporary and historical designers are examined through lectures, assigned readings and student led discussions. Field trips to local furniture design studios, fabrication facilities and showrooms introduce students to the profession. This course prepares students for further work in furniture and object design.

The second course in the DES OB studio sequence focuses in on the object itself: What does it do, what does it say? How do objects convey ideas? The shape, volume, surface and color of an object constitute its overall visual aesthetic and can communicate the object?s use, utility, significance and value. Studio projects focus heavily on the analysis, study, exploration and refinement of 3D form, and engage students in a variety of methods for producing iterative study models and prototypes. In parallel to this practical work, students will be introduced to relevant theoretical approaches, including semiotics, through readings and group discussions. The goal of this course if to teach students how to control the semantic, formal and aesthetic dimensions of their design work so that it communicate the story of the designer, brand or company to the intended users/consumers.

This course explores the fundamentals of commonly used materials and their associated manufacturing processes. With an awareness of cost, quality, and timing constraints, we investigate material properties and the various layers of manufacturing and assembly. To provide students with a knowledge base from which to make smart design choices, we will examine real-life issues and questions that develop during conception, prototyping, and production and that directly affect material and manufacturing options. Whether a low-volume object or a mass-produced product, the understanding gained should allow students to predict constraints, react to issues, and responsibly select the material and manufacturing processes that best suit their needs.

A hands-on studio introduction to the full sprectrum of analog and digital approaches to metal working. Digital drafting, modeling and machining processes are taught seemlessly in tandem with classic metalsmithing techniques. Three assignments together produce one family of objects. Methods covered include designing prototypes using the following techniques: CNC wax milling and lost wax casting, laser cutting non-conforming acrylic dies for hydraulic press use, and generating 2D templates from unfolded 3D digital models. Lectures, readings, and demonstrations augment production on the hydraulic press, roll former, laser cutter, CNC, and milling machine. Software: Rhino 4.

The third course in the DES OB studio sequence focuses on peoples' stories, experiences, needs and wants. The class will show students contemporary methods of approaching, investigating and recording peoples' assumptions, habits and actions by working 'in the field' rather than in the studio. Studio projects will engage students to interpret their findings using storyboards, scenario planning, mood-boards and other relevant strategies. In addition, forecasting methods will be used to understand the future and uncover emerging trends. Through fast prototyping and play testing, real-time iteration will be used to continually evaluate and improve the concept though development. Project work will focus on groups, sets, families, and brands as ways to integrate product systems.

This initial course introduces students to Rhinoceros, a 3D modeling software used by product/object designers. Instruction covers intensive training in 3D modeling and introduction to various precision model-making methods such as CNC and 2d folded models. Students registering for this class must have a MacBook Pro with at least an Intel 1.83GHz processor, 2GB RAM and an 80GB hard drive. Students with a qualifying laptop will have access to a dual-boot software template and additional support and basic training. TECHNOLOGY INSTALLATION: Installing the dual-boot software template requires erasing your hard drive, including all of your data. Please be sure to back up all of your data before scheduling a templating session with the CRIT Help Desk.

This initial course introduces students to Rhinoceros, a 3D modeling software used by product/object designers. Instruction covers intensive training in 3D modeling and introduction to various precision model-making methods such as CNC and 2d folded models. Students registering for this class must have a MacBook Pro with at least an Intel 1.83GHz processor, 2GB RAM and an 80GB hard drive. Students with a qualifying laptop will have access to a dual-boot software template and additional support and basic training. TECHNOLOGY INSTALLATION: Installing the dual-boot software template requires erasing your hard drive, including all of your data. Please be sure to back up all of your data before scheduling a templating session with the CRIT Help Desk.

A rapidly increasing variety of objects in everyday life are acquiring an awareness of their environments, a repertoire of behaviors, and the ability to communicate with other objects, their owners, or, through networks, with more comprehensive integrated systems. This class explores the design processes, skills, and tools necessary to thrive in this exciting creative domain. The course incorporates substantial hands-on development experience in a lab environment. Students will conceptualize, prototype, and build working objects that respond to and cooperate with their owners and with each other.

In the second Digital Modeling and Fabrication class students will be challenged to produce advanced level projects using digital modeling. The goal is to develop the student's ability to create industry level outputs focusing on complex digital modeling in Rhino and photo-realistic rendering using Maxwell. Students will also work on advanced model-making such as digital outputs (rapid prototyping) and inputs (3 d Scanning). Students registering for this class must have a MacBook Pro with at least an Intel 1.83 GHz processor, 2 GB RAM and an 80 GB hard drive. Students with a qualifying laptop will have access to a dual-boot software template and additional support and basic training. TECHNOLOGY INSTALLATION: Installing the dual-boot software template requires erasing your hard drive, including all of your data. Please be sure to back up all of your data before scheduling a templating session with the CRIT help desk.

Light is a material that can be shaped to express ideas, create experiences and increase the communicative potential of objects and spaces. Through a combination of lectures, demos, fields trips and most of all, hands-on lab work, students develop a degree of self sufficiency in the design, construction and prototyping of illuminated objects, physical graphics and environmental lighting. Students learn basic electronic and electrical circuit design, lamp specification and experiment with illumination technologies including incandescent, LED and cold cathode (neon).

Digital output has revolutionized the way we conceive of making. This course explores ways of integrating the CNC (Computer Numeric Control) milling machine into art/design fabrication processes. Enabled by 3D modeling the class explores how and when to utilize the CNC machine in addition to more traditional approaches to making. This class consists of demonstration, discussion, and open shop time to develop CNC based projects. We discuss CNC technology and tooling, materials, as well as the aesthetic of CNC output. This project-based course develops CNC proficiency, and will enable student?s ability to design for digital output. Due to the learning curve necessary to effectively utilize the CNC, this course (or AIADO 5004 ) will serve as a prerequisite to access the CNC. Rhino 4 is our primary interface for CNC output, RhinoCam 2.0 utilized for tool-path generation.

Digital output has revolutionized the way we conceive of making. This course explores ways of integrating the CNC (Computer Numeric Control) milling machine into art/design fabrication processes. Enabled by 3D modeling the class explores how and when to utilize the CNC machine in addition to more traditional approaches to making. This class consists of demonstration, discussion, and open shop time to develop CNC based projects. We discuss CNC technology and tooling, materials, as well as the aesthetic of CNC output. This project-based course develops CNC proficiency, and will enable student?s ability to design for digital output. Due to the learning curve necessary to effectively utilize the CNC, this course (or AIADO 5004 ) will serve as a prerequisite to access the CNC. Rhino 4 is our primary interface for CNC output, RhinoCam 2.0 utilized for tool-path generation.

The Industry Partners Studio is a structured collaboration between SAIC's Designed Objects program and local/ international corporate entities, especially product manufacturers, material manufacturers, and retail enterprises. This semester-long course engages select mid- and upper-level undergraduate and graduate students with the particular concerns and constraints of 'real-world' projects. Specific design problems/ opportunities are defined by Industry Partners and require students to embrace the limitations of, for example: specific manufacturing methods and materials, identified commercial trends, narrow consumer profiles, tight price points, and rigid brand identity. The studio situates itself as a valuable partner with industry, one capable of contributing to the development of fairly typical, but widely varied commercial ventures with the freshness and diversity of perspectives found in our enthusiastic student body. Students are admitted via a portfolio application reviewed by the faculty.

The Industry Partners Studio is a structured collaboration between SAIC's Designed Objects program and local/ international corporate entities, especially product manufacturers, material manufacturers, and retail enterprises. This semester-long course engages select mid- and upper-level undergraduate and graduate students with the particular concerns and constraints of 'real-world' projects. Specific design problems/ opportunities are defined by Industry Partners and require students to embrace the limitations of, for example: specific manufacturing methods and materials, identified commercial trends, narrow consumer profiles, tight price points, and rigid brand identity. The studio situates itself as a valuable partner with industry, one capable of contributing to the development of fairly typical, but widely varied commercial ventures with the freshness and diversity of perspectives found in our enthusiastic student body. Students are admitted via a portfolio application reviewed by the faculty.

This fourth and final course in the DESOB studio sequence course provides a structured studio environment for advanced-level students to develop, refine, and execute an individual design project. The goal is for each student to progress a project from the conceptual design stage, through design development (user-research, iterative modeling and prototyping, narratives of use, etc.) to the actualization of a design that can be tested and presented for peer and public review. To this end, students are challenged to develop concise and persuasive arguments regarding the motivation, development, execution, and dissemination of their design project. By presenting their work to external audiences (peers, invited jurors, potential end-users) students gain valuable insights into the wider contextual factors that bear on the range of outcomes, manufacturability, marketing and distribution of their designs. Through articulation and advocacy of their design work in the public realm, students define their role as a dynamic catalyst operating within real-world social-, political-, monetary-, and cultural-economies.

In this course each student will focus on advancing the design (layout, graphics, narratives, flow) of their portfolio so that it best conveys their individual design skills, experience and interests. Students will produce materials appropriate for delivery of their work across multiple formats (print, digital, web, etc), will learn how to edit/arrange their materials to suit the specific context of application, and will create consistent design elements that can be shared across the full range of professional materials from portfolio, to website, to business cards and other promotional materials. This course is ideal for students preparing for internships and seniors preparing for design practice and can be repeated.

An introduction to the theory and practice of the profession of interior architecture. Lectures, demonstrations, and studio exercises explore the basics of designing interior spaces-from color and light to the process of design. Emphasis is on idea-making techniques through conceptual sketching and analysis. Field trips to Chicago's landmark buildings, museums, and design offices are included. This course is a required first step in the interior architecture design sequence, as well as an opportunity to learn about the profession before committing to the intensive post-foundation curriculum.

An introduction to the theory and practice of the profession of interior architecture. Lectures, demonstrations, and studio exercises explore the basics of designing interior spaces-from color and light to the process of design. Emphasis is on idea-making techniques through conceptual sketching and analysis. Field trips to Chicago's landmark buildings, museums, and design offices are included. This course is a required first step in the interior architecture design sequence, as well as an opportunity to learn about the profession before committing to the intensive post-foundation curriculum.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

A basic drawing course for beginning students. Freehand drawing, mechanical drafting, and computer drafting are used to accurately communicate the way objects and interior spaces look in orthographic projections (plan, section, elevation, and perspective); paraline drawings (isometric and axonometric); design working drawings; and conceptual and presentation drawings. This special visual language introduces the designer to all types of drawing used in design.

This course teaches introductory design communication skills. Studio exercises focus on analog methods of drawing and modeling design ideas and introduce the range of digital tools that can be used to make visual representations of ideas at various stages in the design process. Instruction covers the use of 2D digital communication tools, specifically the Adobe suite - Photoshop, Illustrator, In-design and Acrobat; and time-based presentation media such as I-movie, Powerpoint, Keynote or Flash. This lab helps students develop a basic vocabulary of techniques and approaches for visualizing concepts and making compelling visual and oral design presentations.

This research seminar investigates and examines materials used in the creation and completion of interior space. Emphasis is on historical context, style, and design influences, theatrical applications, creative use of materials, and techniques of material construction, with attention to detailing. Students attend and participate in lectures, field trips, and research assignments. Through a series of design assignments, from small-scale space transformations to full-scale installations, students develop technical and design expertise.

This team taught studio is the prerequisite for additional coursework in Architecture and Interior Architecture. Students learn about the process of designing and the processes involved in representing and configuring a design idea. Finally, they confront the necessity of critically processing and analyzing their own designs as well as those of others. Emphasis is placed on understanding spatial relationships, movements in space and spatial sequencing within single spaces. A series of short projects focus on space and interiority, rather than objects and form. The course encourages experimentation while providing an analytic framework for developing an understanding of structure and materials as well as skills in drawing, model making.

This team taught studio is the prerequisite for additional coursework in Architecture and Interior Architecture. Students learn about the process of designing and the processes involved in representing and configuring a design idea. Finally, they confront the necessity of critically processing and analyzing their own designs as well as those of others. Emphasis is placed on understanding spatial relationships, movements in space and spatial sequencing within single spaces. A series of short projects focus on space and interiority, rather than objects and form. The course encourages experimentation while providing an analytic framework for developing an understanding of structure and materials as well as skills in drawing, model making.

This seminar introduces students' to design problem definition, design process and the logic behind design problem frameworks. The arguments are grounded through an understanding of design criticism and by looking at foundational historic and contemporary convergences in critical design thinking. The seminar is specifically conceived in conjunction with the second year core design studios and as the first part of a thread of knowledge aimed at substantiating the central role of design thinking in the undergraduate curricula.

A two-day (6 credit hour) intermediate level design studio focusing on the design of spaces for human use-domestic, civil, and commercial. A series of realistic design problems introduces the student to the complex requirements of interior architectural design, including programming, circulation, adjacencies, materials and color selection, code and barrier-free requirements, furniture selection and layout, design theory, and others. An equal emphasis is put on idea making. Techniques of idea generation and development from such diverse sources as music and sound, painting and sculpture, materials, nature, light, analogies, metaphor, and history are explored. Students present their projects to faculty and invited critics to promote verbal and visual presentation skills (including model making and rendering). Team-taught by an architect and an interior designer.

A two-day (6 credit hour) intermediate level design studio focusing on the design of spaces for human use-domestic, civil, and commercial. A series of realistic design problems introduces the student to the complex requirements of interior architectural design, including programming, circulation, adjacencies, materials and color selection, code and barrier-free requirements, furniture selection and layout, design theory, and others. An equal emphasis is put on idea making. Techniques of idea generation and development from such diverse sources as music and sound, painting and sculpture, materials, nature, light, analogies, metaphor, and history are explored. Students present their projects to faculty and invited critics to promote verbal and visual presentation skills (including model making and rendering). Team-taught by an architect and an interior designer.

This two-day (6 credit hour) advanced level design studio is led by faculty members with guest artists, interior designers, and architects invited for seven-week projects. These nationally and internationally known guests are selected to provide a balance of theory with practice, artistic with pragmatic, and academic with professional experience. Bringing abstract theoretical ideas into constructable reality without losing the spirit of the original thought is stressed throughout the course. Research, writing, and project visits are employed to expand, clarify, and mature the individual's work. The goal of the studio work is intended to expand students' visions of interior architecture and stimulate their passion for the profession.

This research seminar explores the craft and techniques of putting materials together in the context of interior architectural design. Wood, metals, plaster, glass, plastics, and nontraditional building materials are examined as they need to butt, join, overlap, or meet each other in interior spaces. Students develop a vocabulary of detailing through sketching, drafting, and actually building their own designs. Students learn from indepth study of existing practices combining traditional and new materials. Field trips to factories and completed interiors will inform students of the many possibilities of construction of cabinetry, trim, settings, finishes and of the meanings associated with choice and articulation of materials. Emphasis is on solving the out-of-the-ordinary detailing problems that are a part of any innovative design. Drafting competence is required for the course.

This course explores philosophy, architectural and design theory, and communication and architectural criticism, particularly their interdependence and relevance to the creative act. This course examines and discusses the historic and current dialogue and rhetoric of designers, architects, philosophers, and critics and explores the relationship of the individual designer's work to this body of information.

This course explores philosophy, architectural and design theory, and communication and architectural criticism, particularly their interdependence and relevance to the creative act. This course examines and discusses the historic and current dialogue and rhetoric of designers, architects, philosophers, and critics and explores the relationship of the individual designer's work to this body of information.