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This Design Build seminar investigates the use of metal as a structural, spatial and organizational medium. We will examine the physical properties of post-formable plywood, and develop a structural system and design which respond to site and programmatic conditions. The process includes model building, prototyping, development of joinery, and culminates in the full scale installation of the developed design on campus. This course may be repeated for credit (up to three times). Class meeting days/times are as follows:n1st session : April 4, 10am - 6pmn2nd session : April 25th, 10am - 6pm n3rd session: May 5 , 6pm-9pm (Jun will not attend) nFinal Build dates: nMay 16 10am-eveningnMay 17th. 10am- 6:30 pm

Preference to Architectural Design majors; others by consent of instructor. Projects investigate conceptual approaches to the design of key architectural elements, such as wall and roof. Functional and structural considerations. Focus is on constructing 3-D models in a range of materials; 3-D computer modeling. Students keep a graphic account of the evolution of their design process. Final project entails design of a simple structure. Limited enrollment. Pre- or corequisite: CEE 31 or 31Q.

The practical application of urban design theory. Projects focus on designing neighborhood and downtown regions to balance livability, revitalization, population growth, and historic preservation.

This new class offers an exciting variation on the 'individual project' studio format. Students work as a team to propose a single consensus solution to a real-world design challenge. This collaborative studio experience more closely reflects the creative process in the design and planning professions where a group of individuals works together to brainstorm, shape, develop, and illustrate a community design solution. There are a number of benefits to this team-oriented approach: it is a more nurturing environment for students that do not have design backgrounds, it allows for more peer-to-peer learning, and it takes best advantage of varied student skill sets. But perhaps the greatest benefit is that a team of students working together on a common project will be able to develop a more comprehensive solution than any one student working alone. This means that the class "deliverable" at the end of quarter could be detailed enough to be of significant value to a stakeholder or client group from the larger community. This studio class, working under the guidance of an experienced instructor, functions like a design firm in providing professional-grade deliverables to real-world community design "clients'.

This five-week course engages students in deconstructing architectural structures in relation to the environment by way of observational painting with acrylics. Through on location painting and studio sessions, students build creative capacities and develop critical thinking skills as we focus on the fundamentals of painting, discuss precedents from art and architectural history, and engage in constructive group critiques. Color theory, as it relates to value and applies to light on form and material, is examined and put into practice as students mix paint and explore a variety of techniques. Volume is a major component as we apply principles of proportion, perspective, and depth to convincingly articulate spatial relationships. Composition and design principles are investigated throughout the painting process, from preparatory graphite sketches through project completion. Active painting is enhanced by focused exercises, demonstrations, slide lectures, readings, and museum visits, all which facilitate a deeper understanding of architecture via painting. (Note: this course meets for only 5 weeks: Jan 8 - Feb 7, 2019)

There is growing interest in the intersection of art and science, whether from artists adapting technology to suit their visions or from scientists and engineers seeking to explain various visual effects. To take advantage of possible creative sparks at the art/science interface, it is necessary for fuzzies and techies to have some knowledge of the language used by the other side. This interface will be explored through examining approaches used by an artist and an engineer in the context of the materials science of cultural objects. In-class lectures, hands-on studio practice, and field trips will be used to illustrate these different perspectives. At the heart of the scientific approach is the notion that a cultural object, e.g., a painting, is a physical entity comprising materials with different physical properties and different responses to environmental stresses presented by light, heat, and water. In support of this outlook, in-class lectures and discussions will focus on the basic concepts of color, optics, mechanics, composite structures, and response of the object to environmental stress, and we will visit Bay Area museums to see how artists employ such techniques. The hands-on studio experience is designed to increase students' confidence and develop their appreciation of differences in materials. It is not necessary to have any artistic training, only a willingness to experiment. The in-class studio projects will include working with line and shadow; color, binders, and mordants; global sources of pigments; substrates and writing; and material failure. Students will make one technical presentation on a topic in one of the five areas relevant to a painting: color, optics, mechanics, composites, and stress response. In addition, they will prepare one essay on the issues surrounding the intersection of art and science. Finally, they will complete a project related to one of the thematic areas covered in the hands-on studio sessions and make a final oral presentation describing their project.

Preference to freshmen. Sappho's surviving fragments in English; traditions referring to or fantasizing about her disputed life. How her poetry and legend inspired women authors and male poets such as Swinburne, Baudelaire, and Pound. Paintings inspired by Sappho in ancient and modern times, and composers who put her poetry to music.

This course is an introduction to Roman rhetoric, Cicero's Rome, and the active practice of speaking well. Participants read a short rhetorical treatise by Cicero, analyze one of his speeches as well as more recent ones by, e.g., Kennedy, Martin Luther King Jr., and Obama, and watch their oratorical performances. During the remainder of the term they practice rhetoric, prepare and deliver in class two (short) speeches, and write an essay.

Techniques of news reporting and writing. The value and role of news in democratic societies. Gateway class to journalism. Prerequisite for all COMM 177/277 classes. Limited enrollment. Preference to COMM majors.