Architecture, Landscape & Visual Arts

Unit Outline

Art in the Environment

VISA1051
SEM-1, 2015
Campus: Crawley
Unit Coordinator: Dr Jon Tarry

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Copying of this material by students, except for fair dealing purposes under the Copyright Act, is prohibited. For the purposes
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Unit details
Unit title
Unit code
Availability
Location

Art in the Environment

VISA1051
SEM-1, 2015 (23/02/2015 - 20/06/2015)
Crawley

Credit points

Mode

Face to face

Contact details
Faculty
School
School website
Unit coordinator
Email
Consultation hours
Lecturers

Faculty of Architecture, Landscape and Visual Arts

Architecture, Landscape & Visual Arts
http://www.alva.uwa.edu.au/
Dr Jon Tarry
jon.tarry@uwa.edu.au
by appointment thursday 11 am till 12 noon in room 1:16. If you have difficulty finding time to speak at length
with lecturers timetable a session. Consultations can be organized via email.

Name

Position

Email

Telephone Number

Dr Jon Tarry Unit coordinator jon.tarry@uwa.edu.au 6488 8016

Tutors
Unit contact hours

Online handbook
Other contact details

Vyonne Walker
Tuesday 10 am till 1 pm
Thursday 2pm till 5 pm
in Studio 1.01 A or B, Level 1 ALVA
http://units.handbooks.uwa.edu.au/units/VISA/VISA1051
www.jontarry.com

Unit description
This unit empowers students with a working knowledge of the ways in which the politics of spaces generates art. Since the 1960s to
the present day, art forms have developed where the context for practice, installation art, land art, and public art is defined by
responses to space, time and place. Concepts of duration, spatial power, transition and transaction underpin relationships between
viewer-specific artworks. What are the social and political conditions that gave rise to these practices, how do they operate, and how
are these concerns expressed in contemporary artistic practices? This historical background of land art, public art and installation art
presents a conceptual framework for further exploration.
Unit description:
Art in the environment examines the critical relationships between art and society. All art exists in a contexture that is framed
conceptually by history and the experience of the individual. In the contemporary the situation of art is framed through a philosophical
lens, of precedent that accepts the understanding that people are active in the way they engage with ideas. The way art exists is in
time and place, it is spatial.
The unit will examine in a boarder sense the notion of missing pieces, these will be predominantly societal. The creative enquiry will be
through the most accessible means and aim to extend and refine pr existing skill sets of individuals. This will be in the medium of hand
cut collage, photography, sketching, line mapping, sculptural modeling. All this art making work is able be developed on the desktop the
focus to one to expand intelligent thinking through speculation and hypothesis about the subject. The enquiry will be expansive with
specific focused that will include; urban sculptural artworks, city and ocean memorials, current construction sites, art galleries and
public buildings, performance event spaces.
Art is of its time and place. This unit examines and applies art practice in relation to the specific relationship with context. These include
public space, private space, the gallery space, and spaces offered by developing forms of mediation such as the virtual. The unit
explores, through a combination of lectures and practical projects, art that acknowledges the significance of the interaction between
audiences and participants in the context of place. This includes land art, public art, installation art, the conventions and otherwise of
gallery art, art presentation and art that is situated outside these realms in the urban and rural environment.

Outcomes
Building skills through making art is a playful intellectual enquiry. The workshops sessions aim to refine visual acuity and sensibility.
Image making, framing, surface quality, texture, form , light, luminocity, composition, organization of structures, all towards a material
thinking, and spatial thinking and time based thinking. The outcomes carry the ideas and observations although the engagement moves
beyond surface, shapes, form into what we will refer to as contexture.
The unit explores Art in and how it operates in relation to established and new social frameworks. Students will develop skills in a range
of areas from presentation of ideas, to archival management and the roles and responsibilities of work in the public arena.

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Build skills in the following:

1 Translate of ideas in Artistic ways in a range of media.
2 Speculate about art in relation to spatial conditions.
3 Be able to resolve work to a level criticality where it speaks to an prompts ideas, and interpretation from notation to concept and
completed work.
4 Build knowledge and skills in communicating through art as an inter-disciplinary practice
Students develop an understanding of art as a means of communication, enquiry and expression of ideas, thought and observation.
Students will develop a folio of work which includes; drawings,, hand sketch and digital graphics, making in timber and metal, recording
with photo media, and critical evaluation. These demonstrate the acquisition of new skills and the appreciation and understanding of the
degrees of difference between the notional explorations and resolved work. Art making is expands ways of seeing, ways of thinking and
means of communicating experience.
The investigation of contemporary ideas through these structured approaches is paramount. The development of an ability to critically
evaluate artwork is also an important objective. While the process of the translation of ideas into finished work is expected, evidence of
building skills and facility in drawing will be an aim within the unit. This is achieved through applied practices and will result in a folio of
guided studio drawings, the completion of a series of interconnected projects forms and a text.

Learning outcomes
Students are able to (1) develop skills in a range of areas from presentation of ideas, to archival management and the roles and
responsibilities of work in the public arena; (2) demonstrate basic skills in three-dimensional model making using a range of techniques;
(3) discuss the ideas of art in a variety of environments; (4) evaluate art in relation to the context of contemporary theories and
methodologies; and (5) develop a knowledge of art as an interdisciplinary practice.
In this introductory assignment-based unit students are required to participation in the lecture and studio practice study programs. A
study program offers each student the scope to develop particular working methodologies in art making while exploring broad
conceptual frameworks and contexts for art as contemporary practice.

Unit structure
Assessment is by two projects 50% each
Project one is taken from studio sessions
Missing Pieces Collage
Missing Pieces Photo essay
Missing Pieces Drawing
Missing Pieces Sculpture
Missing Pieces Sculpture/photograph
assembled in a folio A3 size. Due week seven.
project two is a 'hypothetic' site situation work that requires making a sculpture and producing an A2 graphic/photo/drawing text collage
of object and site. 500 word Text.
assembled in a folio due end of assigned class session week twelve.

Contact Times:

Tuesday 10am till 1 pm

Thursday 2 pm till 5 pm
Sessions will consist of a 45 minute Lecture/seminar at the commencement of session with break between then and Studio
Practice. The last hour of studio practice is for individual consultation.
Additional individual consultation time is by appointment Thursday 11 am till 12 noon in room 1:16.
Locations:
Thursday G22 ALVA Building ground floor.
Thursday A1 Studio ALVA Building first floor.
Title: The Missing Pieces .
The key text provides a creative template for the unit AE is Henri Lefebvre, The Missing Pieces.
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The investigation of missing pieces gives forms to create a new contexture (Dr Riet Eiickhout PhD Thesis RMIT), fragments, clues
metaphors, absence and presence informs all aspects of the unit. The Missing Pieces is an incantatory text; a catalog of what has
been lost over time and what in some cases never existed. Through a lengthy chain of brief, laconic citations, Henri Lefebvre evokes
the history of what is no more and what never was: the artworks, films, screenplays, negatives, poems, symphonies, buildings, letters,
concepts, and lives that cannot be seen, heard, read, inhabited, or known about. It is a literary vanitas of sorts, but one that confers an
almost mythical quality on the enigmatic creations it recountsrather than reminding us of the death that inhabits everything humans
create.
Lefebvres list includes Spinoza's Treatise on the Rainbow (thrown into a fire); the final seven meters of Kerouacs original typescript for
On the Road (eaten by a dog); the chalk drawings of Francis Picabia (erased before an audience); and the one moment in Andr
Malraux's life in which he exclaimed I believe, for a minute, I was thinking nothing.
By Henri Lefebvre The Missing Pieces, MIT Press Boston 2014
Translated by David L. Sweet
The creative template, is as the two words convey, to be, to Create, to play, to invent, to recombine, to problem solve, to initiate, to
reimagine, to remake, to re order, to generate new ideas, to offer new ways of seeing, to show what may not be visible, to give
materiality to an idea, to observe, to rewrite, and on the list goes.
The template, is a device, a tool, a measure, an instrument, a guide, a constant, a constitution, a toy, a means and the list goes on.
The Template the creative template, as Paul Carter discusses in the book Dark Writing,
An expansive text that in this situation is intended to be a reference across the semester for ideas that enables interpretation in a
broader sense of expression.
People look at and or feel experience and react to what has been created and presented as an artistic proposition. Being aware of
multiple reading of creations, that come through material, mark making, image manipulation and physical experience enables a
dynamic to be developed, where those engaging with work, i.e. The viewer/audience is not a passive spectator but actually completes
the works, completes as we may say, the missing pieces.
The work is first all there to be enjoyed, its important to enjoy making things and, play with ideas and possibility. It understood that
people have a pre existing skill set, on to which this unit will build. Most of the work will take place on a desk, however the thinking and
spatial projection is into the elsewhere.

Weekly Schedule
Wk 1 Introduction: Introduction to the unit with overview of requirements and expectations, key dates and process of submission and
assessment mechanism.
Introduction of the Creative Template.
Introduction of key text Missing Pieces.
Introduction of critical terms.
Introduction of practice based research.
How to inform intuitive responses
How to begin
How to develop ideas
How to critically evaluate and to complete work
How to present work

Wk 2 Lecture will present the work of artists who made collage as a device of modern expression, Rodchenko, Eduardo Paolozzi, Man
Ray, AES+F, Richard Hamilton. Gilbert and George, Jenny Holzer, Barbara Kruger, Mary Kelly.
Poster of missing pieces. Working with two-dimensional strategies, create and interpretation form the page of missing pieces, that is
made as a collage of images and texts. Using methods of fine cut outs detailed tearing, allow a work to float across a page, as a
means of talk back. Eventually the collage will be glued down and scanned as pdf or jpeg and printed. 4 A 4 one final A3 posters printed
in monotone.

Wk 3 this lecture will present artist who have used photography as a primary means of expression. These include, Man Ray, Gordon
Matta Clark, Bill Henson, AES+F, Andreas Gursky. These examples are particularly high-end technique our method will be to explore
techniques that are accessible. Photograph of missing pieces Make a photographic essay that consists of a photo for each line of the
page, use sources and subjects at hand, that is environment subjects, for example, things from a kitchen, things from a library, things
from a shed, things from a garden, things from a bag, things from a rubbish bin. Photograph these close up as they are tableau or
arranged on a white tabletop or placed on a white sheet. With the photograph consider a consistent approach with use of light, framing
of subject, focus of lens, filters, and textures and create a dynamic subject. Use any camera as required as long as the images can be
downloaded and printed. Use commercial printing, in monotone.

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These photos will be used in the studio session, it is essential these are done before the session and bought to the studio. Also have a
camera available to document the studio arrangement.
In the studio the aim will be to organise these into a photo essay which responds as a visual poetic text to a portion of the text form
Missing Pieces, chose several lines or recombine these lines as a visual photo essay. These will be pinned or glue mounted or slightly
cut and cropped to fit on two A3 pieces of paper.

Wk 4 Drawing of missing pieces

Lecture will present to work of numerous artist who work with drawing as central device of a practice, these include, Irwin Wurm, Merrik
Belyea, William Kentridge. We will view a small documentary by William Kentridge of the making of a drawing film; here the process of
making is present in the work however the way it was made is absent through time code sequencing. Here the missing pieces are the
artistic hands.
Studio session:
Working from the visual material of the previous two weeks three A3 drawings will be developed using pencil or pen. Each drawing will
examine use of drawing systems.
One will be continuous slow unbroken line.
Two will be pure tonal rendering with cross-hatching and show clearly three distinct tones
Three will be a highly express mark making free form drawing with lots of energy.
Each drawing will need to be worked right to the edges of the page.
Each drawing will have a name and wk in bottom left.
The aim of this is to re investigate a previous drawing and expand notions of representation of Missing Pieces.

Wk 5 Wire and plasticine model of missing pieces

Alexander Calder made a fully operating circus that was animated wherever there was an audience in a caf or at home. Joseph
Beuys, David Mach and artists who have worked with wire, as an expressive method will be presented.
Woking from on of the Missing Pieces drawings, remake a missing piece in wire as if is a three-dimensional drawing in space. Approx
30cm max in any direction.
Working from a previous Missing Pieces photograph remake the form in plasticine, approx 150mm in any direction.
With both pieces set these up in a light controlled environment and photograph, working with light and tonal contrasts and shadows.
Print these out as quality A4 prints one of each.

Wk 6 Record of missing pieces

Lecture: How to archive and prepare a folio for submission. We will examine precedent
Make one two-dimensional artwork in medium of your choice in considers the concept of Missing Pieces, the final work is to be A3 and
of a high quality finish.

Wk 7 Submission
Using a simple A3 cardboard folio with a seem down one edge. Your name on the cover and student number.
Inside in exact order of Weeks 2 to 6 arrange to work. Also have a simple 300-word text, which catalogues the works and indicates an
overview of how this body of work developed and how successful you feel it is. Use an official unit cover sheet with the submission and
sign it.

TUESDAY SUBMISSION AT 12 noon.

THURSDAY SUBMISSION at 4 pm.

Week 8 Project two The Missing Pieces of History

Lecture introduces the parameters of the single assignment. There is scope to interpret this broadly however, there are two required
components. A two-dimensional work, it may be a photo, drawing graphic image and text or combination of all. This is to be presented
at a scale of A2 ready to b e pinned to the wall or hung on the wall. It is to be a resolved image work of high quality and consideration.
The second component is a three-dimensional work, an experimental sculptural piece no more than 40cm in any direction and not less
than 20cm in any direction. Accompany these tow works is a catalogue or record, which situates to the work back into the site.
Consider this a hypothesis about how the work may be modified. There is room for the imagination and wider range of material.
Developing and presenting hypothetical ideas. Artist include, Christo, Oldenburg and various propositions, by architects, sound artist
and so forth.
Hypertheiticals, Commence Major Project
Major project is study of an existing example of Art in the Environment, a report that describe the work archaically, name of artist, year,
materials, methodology, and ownership.
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2 Describe the work as interpretive.

3 Describe the context of the work how it sits in the environment.
4 Describe how people are intended to interact with the work
5 describe how people actually interact with the work
6 describe what are the missing pieces in the works
Overall 500 to 800 words.
Document the work with photographs and drawings, sketches,
Make an image A3 and a Sculpture no more than 40cm in any direction where the work is extended, modified, distorted, broken, and
stretched, as a reinvented, reimaged work.
Choose on of the following as subject. Missing histories
Photo of memorial sculptures
Figurative
Lord Forrest
Yagan
Fire Fighters
Swimmer
CY OConnor
Bon Scott
Fishers
Non figurative coded by colour
Green Forrest place,
Yellow arena
Black stump
Black and white arc
Select one of these.
Do photo essay of the work, use camera in imaginative ways. Min 6 prints all monotones.
Do drawing and describe the work art historically, for example artist, year title, material location commissioning body, owner, copyright
owner, public commentary, archiving. History around the working ideas of the artist. Missing history of the work, this may be anecdotal
or part fictional, and or explore your own ideas that take the work into the realm of magic realism or requiting of the work. Essentially
expand the notion of Missing pieces of history.
Make a scaled sculptural model of the work the work in material of you choice; suggest air hardening clay, wire, and balsa wood.
Scaled to be approx 4ocm high no more and no less than 20cm high. Place on mount board or similar quality.
In the model make a single modification

Wk 9.Lecture Missing Histories reviews a selection of the memorials offering an historical overview in relation to the local sculptural
works in public places, this will include a survey of memorials and look at the colonial history with an examination through strategically
located memorials. Alexander Forrest in St Georges trace will be discussed in relation to Ascolon in from on st Georges Cathedral and
the statue of Yagan on Herissen Island. These examples reveal a historical layering which invite questions of agency and authority.
Lecture will look at other sculptural works or public artworks through out the city, for example The fire fighters Memorial in Kings Park,
James Angus work in Forrest Chase, Geoffrey Drake Brockmens Kinetic work at the Arena and several of Anne Neils works including
the Kangaroos in the trce and other works near the Supreme Court. These works will be discuss and highlight the challenges of
permanencey and territory that comes with working in the public realm.
The studio session will review student presentations, each will be scheduled to pin up work and discuss it for 5 minutes.
Wk 10 A site visit to Lecture at Naturescape, May drive Kings Park, Perth, Meet at the entrance at 10 am and 2 pm respectively and
bring a drink bottle camera and sketch book. We will be walking through small area of bushland so sensible attire is encouraged.
Naturescape is an example of art in the Environment; it was designed by Plan E and Jon Tarry as an educational play scape in the
bush 2012, it won numerous ways for design, and has over 350,000 visitors per year. Jon Tarry will talk about the design and missing
pieces of natural systems. This will consume most of the session
Wk 11Lecture will introduce contemporary site and situational practices in art in relation to the environment. Works will include street
art, the fifth plinth, the poppies installation at the Tower of London, and so forth. This lecture looks to the future of art in relation to the
environment and introduces the work of researchers in ALVA and our partners in fine arts, LWAG and Symbiotica.
The studio session will review the sculptural works and graphic and enable students to receive feedback on progress of ideas.
Wk12
Lecturer is a summary and review of the program of study, highlight and responding to particular interest conveyed by the student work
in the unit.
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Studio session is a time to consolidate and submit the project for assessment.

TUESDAY SUBMISSION AT 12 noon.

THURSDAY SUBMISSION at 4 pm.
No late submissions will be accepted

Wk 13 is review and feedback and pick up of works.

Criteria for assessment is:
1. A disciplined approach to the subject.
2. A level of skills in media and technology.
3. Articulate conceptual understandings.
The Assignments will demonstrate a commitment to a disciplined and sustained effort commensurate to the time and breadth of the
unit requirements. The work must demonstrate the following attributes:
Each folio/assignment will be graded according to the criteria set out for this unit of studio study (noted above). A single numerical
grade will be assigned to the folio during final assessment - this grade will be entered upon each students record.
The Assessment Panel in the formulation of grades will consider the following points:
.
The level of technical skill used in the development of the work.
The level of conceptual clarity.
The resolution required within each project.

Other points relevant to each individual student submission will be considered if deemed appropriate by the Assessment Panel.

Mark allocation
fail = <50%
pass = 50 59
credit = 60- 69
distinction = 70 79
high distinction = 80 100

Assessment Panel
Unit Co-ordinator Dr Jon Tarry

Unit schedule
Week Date

Lecture Topic

Lecturer Tutorial

Laboratory

Introduction to the unit

Tarry

Studio 1.01B

Missing Pieces

Tarry

Missing Pieces

Tarry

Missing Pieces

Tarry

Missing Pieces

Tarry

Missing Pieces

Tarry

Missing Pieces
Collage
Missing Pieces
Photo essay
Missing Pieces
Drawing
Missing Pieces
Sculpture
Missing Pieces
Sculpture
photography

2
3
4
5
6

Tues 24/2
Thurs 26/2
Tues 3/3
Thurs 5/3
Tues 10/3
Thurs 12/3
Tues 17/3
Thurs 19/3
Tues 24/3
Thurs 26/3
Tues 31/3
Thurs 2/4

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7
8

9
10
11
12
13

Tues 14/4
Thurs 16/4
Tues 21/4
Thurs 23/4

Tues 28/4
Thurs 30/4
Tues 5//5
Thurs 7/5
Tues 12/5
Thurs 15/5
Tues 19/5
Thurs 21/5
Tues 26/5
Thurs 28/5

Missing Pieces

Tarry

Submission of Folio for assessment

Missing Pieces Sites of

transformation New Porject
introduction
Missing Pieces
Missing Pieces

Tarry

Missing Pieces Site visit natures

cape Kings Park
Missing Pieces

Tarry

Site visit natures cape Kings Park

Tarry

Presentations work in progress

Missing Pieces

Tarry

Pick up work

Tarry

Submission of folio for assessment

at end of assigned studio session
Pick up all work.

new project sites of

transformation.

Tarry

Teaching and learning responsibilities

Teaching and learning strategies
This unit is taught through a strategy of the 'Creative Template'. This term was oringated by Paul Carter in the Dark Writing. A good
introduction is in the chapter 'Solutions' (in Dark Writing). There are a number of chapters in that book that are useful. Another important
underpinning theorisation of placemaking informing the 'creative template' is the argument about the double movement of sociability in
Meeting Place. Finally, the 'creative template' is primarily a discursive technique, a way of narrating/performing certain relationships. An
article which is relevant here is Emargination: a pedagogy of the commons, Architectural Theory Review, 2013, 150-163
Students develop an understanding of art as a means of communication, enquiry and expression of ideas, thought and observation.
Students will develop a folio of work which includes; drawings,, hand sketch and digital graphics, making in timber and metal, recording
with photo media, and critical evaluation. These demonstrate the acquisition of new skills and the appreciation and understanding of the
degrees of difference between the notional explorations and resolved work. Art making is expands ways of seeing, ways of thinking and
means of communicating experience.
The investigation of contemporary ideas through these structured approaches is paramount. The development of an ability to critically
evaluate artwork is also an important objective. While the process of the translation of ideas into finished work is expected, evidence of
building skills and facility in drawing will be an aim within the unit. This is achieved through applied practices and will result in a folio of
guided studio drawings, the completion of a series of interconnected projects forms and a text.

Assessment
Assessment overview
Typically this unit is assessed in the following way(s): (1) folio submission of all studio projects completed in class; (2) final folio
submission containing all journals and painting projects; and (3) visual and oral presentation. Further information is available in the unit
outline.

Criteria for assessment is:

1. A disciplined approach to the subject.
2. A level of skills in media and technology.
3. Articulate conceptual understandings.
The Assignments will demonstrate a commitment to a disciplined and sustained effort commensurate to the time and breadth of the
unit requirements. The work must demonstrate the following attributes:
Each folio/assignment will be graded according to the criteria set out for this unit of studio study (noted above). A single numerical
grade will be assigned to the folio during final assessment - this grade will be entered upon each students record.
The Assessment Panel in the formulation of grades will consider the following points:
.
The level of technical skill used in the development of the work.
The level of conceptual clarity.
The resolution required within each project.

Page 8

Other points relevant to each individual student submission will be considered if deemed appropriate by the Assessment Panel.

Mark allocation
fail = <50%
pass = 50 59
credit = 60- 69
distinction = 70 79
high distinction = 80 100

Assessment Panel
Unit Co-ordinator Dr Jon Tarry
Other internal and/or external assessors as require

Assessment mechanism
#

Component

Weight Due Date

week 7 Missing Pieces 50%

Tues
Folio 1
14/4
Thurs
16/4

week
12
Tues
19/5
Thurs
21/5

Missing Pieces 50%

Folio 2

Relates To Outcomes

Tues 14/4 12 noon

Thurs 16/4 4 pm
at the end of assigned
studio session
12 noon tuesday
4 pm thursday

Outcomes as indicated in guide.

1. A disciplined approach to the subject.
2. A level of skills in media and technology.
3. Articulate conceptual understandings.

Tues 19/5 12 noon

Thurs 21/5 4 pm
Submission in class
12 noon tuesday
4 pm thursday

Outcomes at indicated in the guide.1 Translate of ideas in Artistic

ways in a range of media.
2 Speculate about art in relation to spatial conditions.
3 Be able to resolve work to a level criticality where it speaks to an
prompts ideas, and interpretation from notation to concept and
completed work.
4 Build knowledge and skills in communicating through art as an
inter-disciplinary practice.
1. A disciplined approach to the subject.
2. A level of skills in media and technology.
3. Articulate conceptual understandings.
The level of technical skill used in the development of the work.
The level of conceptual clarity.
The resolution required within each project

1 Translate of ideas in Artistic ways in a range of media.

2 Speculate about art in relation to spatial conditions.
3 Be able to resolve work to a level criticality where it speaks to an
prompts ideas, and interpretation from notation to concept and
completed work.
4 Build knowledge and skills in communicating through art as an
inter-disciplinary practice.
The level of technical skill used in the development of the work.
The level of conceptual clarity.
The resolution required within each project

Page 9

Assessment items
Item
Title

Description

Submission Procedure for Assignments

Folio 1

Collage, A3
Photo Essay 6 images
A4
Drawing A3
Sculpture 1
Sculpture photo 2
Sites of transformation
Sculpture
Graphic A2

Submit in A3 cardboard folio in order with small descriptive catalogue, in weekly order. Plus
cover sheet and you name and student number on front

Folio 2

The Text 500 words text for

project 2

Submit in A3 cardboard folio with small sculpture and graphic A2 descriptive catalogue, This
will be presented as exhibition in foyer space. Plus cover sheet and you name and student
number on front.
Self-evaluation/critical analysis of Artwork

Textbooks and resources

Page 10

Recommended texts
Primary text:
Henri Lefebvre The Missing Pieces, MIT Press Boston 2014
Translated by David L. Sweet
Texts: There are many texts that will expand your understanding of the unit, in fact few single texts devoted to critical approaches to the
subject and tend to focus on the technical aspects with instructions, ie how to books. However, a recurring theme in the unit is an
exploration of site and culture are important to be familiar with. Several readings will be suggested in the unit. You will be able to find
readings held in closed reserve in the ADFA library relating to the unit.

Texts for the unit overview:

REFERENCES
Feireiss, Lukas, Space Craft 2: More Fleeting Architecture and Hideouts Berlin: Gestalten, 2009
Kipnis, Jeffrey, Perfect Acts of Architecture New York: Museum of Modern Art and Wexner Center for the Arts, 2001
Stewart, Susan, The Open Studio: Essays on Art and Aesthetics Chicago & London: University of Chicago Press, 2005
Wands, Bruce, Art of the Digital Age (London: Thames and Hudson, 2006)
Lee Pamela M, Object to be Destroyed Gordon Matta Clark, MIT Press 2001
Liebnitz and the Fold, Gille Deleuze.
Anthony Vidler, The Architectural Uncanny, The MIT Press, Massachusetts, 1992
Robert Venturi Denis Scott Brown Steven Izenour, Learning from Las Vegas. MIT press Massachusetts 1972..
Barthes, Roland. Camera Lucida New York: Hill and Wang, 1981.Camera Lucida
Gordon Matta-Clark: the space between By James Attlee, Lisa Le Feuvre, Gordon Matta-Clark, Centre for Contemporary Arts
(Glasgow, Scotland), Architectural Association (Great Britain)
PUBLICATIONS Jon Tarry.
Catalogues
Boomtown, 2050, Richard Weller, University of Western Australia Press, 2009
Prix d Amour, Essay and Photo Essay By Jon Tarry.
THING: Beware the Material World, Robert Cook, 18April- 5 July 2009, Art Gallery of Western Australia, p. 40
Closet Circus: Works from the Horn Collection, foreword by John Stringer (Perth: Fremantle Press, 2008) pp. 65, 79, 86, 95, 109, 162163, 166
Reports
ACUADS 08/09 Research, Australian Council of University Art & Design Schools, Jon Tarry,Arrivals and Departures (SA: South
Australian School of Art, University of South Australia, 2008) pp.32-33
Journals
Kerb 14: Journal of Landscape Archiecture, 2005/2006, Representation (Melbourne: Print Media Group, 2006), Tarry, Jon,Unshore
Lines, pp. 80-81
Kerb 13: Journal of Landscape Architecture, 2004 (Melbourne: RMIT, 2004) Tarry, Jon,Existence: Living anon an off the Strip, pp. 4041

Suggested alternate texts

Moss, Eric. O, Who Says What Architecture Is? California: SCI-Arc Press, 2007
Rosa, Joseph, Figuration in Contemporary Design Chicago: The Art Institute of Chicago, 2007
Shanken, Edward. A, Art and Electronic Media (London: Phaidon Press Limited, 2009
Spiller, Neil, Visionary Architecture: Blueprints of the Modern Imagination London: Thames and Hudson, 2006

Additional texts
John Kasarda,Greg Lindsay, Aerotropolis, Allen Lane Penguin, London 2011
Foreign Office Architects, Phylogenesis,Actar, Barcelona,2004
Reiser+ Umemoto, Atlas of NovelTectonics, Princeton Architectural Press, New York 2007
Fuller, Gillian and Ross Harley.
Aviopolis: A Book About Airports.
Black Dog. 2004 Publication Place: London.
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Technical requirements
Material Requirements:
1: For the studio unit a drawing board exactly A3 dimension no smaller. This is 300mm by 420 mm and aprox 5 mm thick smooth
board, mdf or other. Two clips for holding paper in place top and bottom.
2: Each session will require use of A3 cartridge paper.
3: Tools required are a pencil or range of pencils or graphite in pen holder, range from 2B to 6B.
4: A sharpener enclosed in case.
5: scissors
6: photo equipment
7: plyers, brushes, paints, wire.

Software requirements
Photoshop may be accessed through the Digital Lab and computers in the building.

Additional resources and reading

General notes:
For this studio unit each student will need to supply their own consumable materials. These may vary, however it is important to be
equipped with a range of diverse, low cost materials. While there are many materials fine artists use such as, paper charcoal, to
name a few, contemporary practitioners work with a broad selection of industrial materials and processes. Material and the
attitude/situation/methods with which they are applied to the exploration of ideas are pivotal. Developing a facility and skill with materials
is a significant exploration in itself. Contemporary artists often use a combination of materials and technologies. Equipping yourself
with an abundance of materials will enable an open approach to your work.

Equipment/Equipment Loan
The Faculty provides a number of equipped facilities for student use. These have been significantly refined in preparation for the new
studio structure in Fine Arts. There is a pool of Faculty equipment available for students. All of the students and staff within the various
discipline and degree programs of the Faculty have access to this equipment during the semester weeks. Equipment loan of any of the
items available in the Faculty equipment pool should be carefully scheduled and booked through the Faculty Technical Officers (located
on the Ground Floor of the Faculty building). There are a series of procedures and protocols associated with the use of Faculty loan
equipment - all students should familiarize themselves with these in consultation with the technical staff of the Faculty.

Other important information

Enrolled students can access unit material via the LMS in units that use LMS

Building clean-up and folio collection (for units with folio submissions)
Studios are expected to be left clean and tidy. Drawing boards are to be cleaned. Students must remove all personal property
immediately after the submission of their folio. If the content of a folio is used for exhibition then the student must write their name on
the back of the work so that when the exhibition is demounted collection is simplified. If staff or the Faculty wish to reserve work for
reproduction and/or accreditation purposes then this should be negotiated with individual students.

Attendance
Attendance is required at all lectures, tutorials and workshops. These are the primary means of consultation with your Unit Coordinator
and Teaching Assistants. Do not expect questions relating to content missed through unjustified absence to be answered. Additionally,
it will be assumed that students have read all relevant course materials.

Authenticity of work
For Studio units, the Faculty may prevent your continuation in this unit if you fail to meet requirements for attendance at
classes to establish the authenticity and originality of your work.
Submissions
The ALVA Submissions policy is available at:
http://www.alva.uwa.edu.au/students/policies/

Submission of Late Work

All assessment tasks are due no later than 4pm on the date indicated in the unit's Assessment Mechanism Statement, with the
exception of in-class assessment items such as tutorial presentations. Any assessment task which is submitted after the time
indicated in the assessment mechanism statement without a formal approved extension will be considered LATE and appropriate
penalities will be applied. Information on penalties can be obtained in the Faculty Policy on Submissions
at http://www.alva.uwa.edu.au/students/policies/.

Extensions

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The Faculty approves extensions only in exceptional circumstances in order to ensure that all students are treated fairly and that
submission date schedules, which are designed to produce ordered work patterns for students, are not disrupted. Extensions may be
authorised only by the allocated Faculty Course Advising Office or a delegated representative. In all cases, requests for extensions
require the submission of Special Consideration form no later than three University working days after the due date.
Students are encouraged in the strongest possible terms to familiarise themselves with the Faculty Policy on Extensions available
at http://www.alva.uwa.edu.au/students/policies/.

Return of Student Work

Marked assessments submitted on time will be made available for collection by students at least one week before the next assessment
in the unit is due (if it is related to the previous assessment), or no more than four weeks after submission, whichever is sooner.

Special Consideration
For information regarding special consideration please go to:

http://www.student.uwa.edu.au/course/exams/consideration
Faculty Safety Inductions
The ALVA Health and Safety Induction (Part A) must be completed online by all students enrolled in a unit taught by the Faculty. This
online module is available for self-enrol via LMS. Completion of the Part A induction will ensure after-hours access to the ALVA Building
(including computer labs) is enabled.
The ALVA Workshop Induction (Part B) runs in Week 1 of each semester, and must be completed if the unit involves use of the
Workshop. Your Workshop Induction lasts for five years, after which you will be required to attend a refresher. Please refer to
http://www.alva.uwa.edu.au/students/facilities for more information on Inductions and Workshop close-down period.

Material and Equipment Costs

Costs specific to individual units will be communicated to students in this unit outline or early in semester.
All sites will require students to wear protective helmets; students needing to purchase a certified protective helmet may do so from
Alsafe Safety Industries Pty Ltd, 177 Bannister Rd Canningvale. Students must wear appropriate clothing when visiting building sites;
open toed shoes and sand shoes will not be accepted and students will not gain entry to site with these shoes. The sites also require
steel capped boots to be worn this is a condition of accessing these sites. These can be bought from Army Surplus stores or
borrowed, they are a worthy investment as will be required on future building sites of your own.

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