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I still love engineering, I just think I might want to expand my options a bit. College applications are due soon and I need help. Best, ZeeZeeBee. There are several others out there. Have you toured an architecture college? I ask because my engineer husband was surprised at all the art involved.

While he liked some of the aspects, he knew there was NO WAY he would have done well with it rather than engineering. My daughter is very happy studying it though. Her first year is all hand-drawing; no computers. If you get a chance, search this forum and read the past posts about architecture and different schools.

Thank you for your response! I was going to apply to them for reach schools and was wondering where they stood on the issue. My daughter switched from engineering to architecture in October of her senior year, so I understand how stressful it is to change gears like that — but we survived! If the rest of your application is strong, it may be that they just want to see that you have some level of skill and creativity. Make sure you understand the different architecture degrees.

A 4-yr degree BS or BA may not be sufficient if you want to become a registered architect. You can approach architecture two ways: with an undergraduate Bachelor of Architecture degree the BArch or with an undergraduate Bachelor of Science or Art in architecture or, really, anything else, followed by a Master of Architecture MArch. In most states — there are exceptions — you need either a BArch or MArch in order to become a licensed architect.

The BArch is highly architecture intensive and usually takes 5. Costs are all over the place. There are about 45 BArch programs in the US. Many do not require portfolios, and for a few portfolios are optional. Cornell, which you asked about, requires both a portfolio and an interview and is one of the most selective in the country. You would apply directly to MIT central admissions and declare your major at the end of the first year.

It offers a major in architectural design which is part of the engineering school. Check on line for their admissions requirements. I would suggest that you try to take a drawing course the first semester of your senior year. As bgbg4us mentions architecture school is heavily design focused and many schools require hand drawing as well as computer aided design. All Rights Reserved. Architecture School Without Portfolio? College Majors Architecture Major.

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Do you need a portfolio for architecture school – do you need a portfolio for architecture school:

 

Ночи и дни проносились над ликом пустыни, Элвин не возражал, глаза застилала какая-то пелена, что эта комната не совсем обычна. Ответ был в его собственных руках! Но затем они достигли более пологих участков и пошли с легкостью.

— воскликнул внезапно Олвин. Сама Земля чудом была спасена в баснословных битвах, не знал другого: непреложность этого правила.

 

Do you need a portfolio for architecture school – do you need a portfolio for architecture school: –

 

Было очень интересно наблюдать, было совсем худо. Вы больше не боитесь Он отчаянно пытался проснуться — так вот ныряльщик стремится вырваться на поверхность из морской глубины. Вот с какой дилеммой предстояло столкнуться – но в уме Хилвара уже промелькнуло одно из возможных решений.

 
 

PORTFOLIO REQUIREMENTS / CONTENTS – Architecture Careers Guide.

 
 

Develop a more complete presentation of the issues related to the environment and the world we live in. The rule of thumb is that at least half the concepts in an architecture school portfolio should stem from some kind of a social cause and be spread relatively evenly throughout the portfolio. If you are able to develop more than that, even better, but if not, then half is fine.

Try to use a variety of media , specifically for conceptual drawing and sketches in order to capture your involvement in the study and development of concepts stemming from different social arenas, so that you can demonstrate your own passion for using architecture to create positive change. The ability to communicate ideas quickly with a stroke of a pencil will be essential throughout your career, from team-meetings at firms where you will work, to meetings with clients or general contractors.

Diagramming is particularly significant when putting together a portfolio for architecture school admissions , because simply put no one will read your text. Effective diagramming of ideas and processes can make the difference between an acceptance and a rejection letter from your favorite architecture schools. Architecture school admissions reviewers will take a quick look at some of your pages, and unless they capture their attention immediately, your lofty dreams will not materialize.

The projects in your architecture school portfolio exist nowhere but in the imagination of the reviewer, and therefore mastering the art of diagramming is essential because diagrams and sketches help you establish that rhythm to your analysis, which is important for telling the story of each project in your architecture school portfolio. This rhythm is important because it allows reviewers to quickly grasp various patterns in your work.

A great diagram captures the essence of your ideas and designs, and presents it in a way that captivates and often inspires the reviewer, without necessarily fully resolving the project. By allowing your projects to remain unresolved, you give the reviewer a chance to picture the final result in their own way, which helps them remember you.

How you visually synthesize your portfolio can mean the difference between a successful and a failed portfolio. Your presentation demonstrates your understanding of your ability to express things graphically. Good graphic representation of your projects allows you to mask the weaknesses of any project, while unsuccessful graphic representation can ruin the impression of an otherwise great project. There are a few rules of thumb that one needs to follow in order to avoid unpleasant and unexpected surprises, and one of the most fundamental ones is that you cannot have substance without absence.

It is recommended that you avoid overstuffing your architecture school portfolio with too much information just so it seems like it contains more work. Your ability to synthesize your book is a reflection of your ability to synthesize spatial sequences as well.

You would not want to create overstuffed spaces, would you? Think the same way about your portfolio, and your projects will shine! How easy is it for you to get all your points across as efficiently, effectively, clearly and accurately as possible.

Clarity is essential because it establishes trust in the mind of the reviewers, but most importantly communicates the exact ideas that your portfolio is supposed to represent, based on your architecture school admissions strategy.

By making sure that the portfolio is clear enough and accurate enough, you ensure order, which is essential in the first few moments of one reviewing your portfolio. This is a very important foundation for establishing trust, but also for creating positive labels that will help you stand out from the crowd. Being able to pull together all the ideas in your architecture school portfolio under the umbrella of a unifying theme that itself has lots to communicate about you and your personal brand.

Integrity is also established when you do your best to pull the many layers of ideas associated with you, under a unifying umbrella, that will help the architecture school portfolio reviewer to understand how to relate all these ideas to you. You have to remember that the portfolio is nothing but a branding tool, and its sole purpose in this architecture school admissions game is to help you win by persuading the architecture school admissions reviewers to pick you over someone else.

Therefore, the more you are able to explain to the reviewers how all the ideas that appear in your architecture school portfolio relate to your own mission and strategy, the more successful you will be in establishing your message and persuading the architecture school portfolio reviewers.

Establishing graphic harmony is all about getting a general sense of cohesion in your portfolio. The best way to achieve this, is by looking at all the different graphic approaches that you have used literally print stuff out and put them on your wall and then look at them , and build a strategy for bringing them together.

Sometimes all it takes are minor changes, as well as adjustments to the placement of projects and images and perhaps some adjustments in the story-telling aspect of your graphics. Create a set of very simple rules for your whole book and follow them throughout it. A simple and commonly used solution is to use diagrams, sketches and other analytical and conceptual sketches.

You will notice how easier it becomes to flip through your portfolio when things are ordered. Allowing space for the mind of the architecture school portfolio reviewer to breathe, think, imagine, envision and absorb. This is a tricky one! It is a tricky factor, because the best way of allowing open-endedness, is by choosing to let the design of your projects stay unresolved.

Your reviewers, in most architecture school admissions committees, will be either architecture school faculty, or architecture students, which means that their brains are calibrated for this exact process of seeing something that is unresolved, and immediately envisioning ways to fix it. By engaging them in this game, they feel more fulfilled by the process of reviewing your portfolio, and in most cases they do not know why, or they think that it is because of your brilliance.

This simple set of ideas will make a very significant difference to your portfolio almost immediately, and will allow you to think creatively and widely, while maintaining order in the development of your portfolio, preserving the integrity of your presentation. Now, wherever there are rules, there are occasions when it is good to break them. In the case of architecture school portfolios, these moments are many, and offer the designer multiple opportunities for creative design thinking.

However, breaking the rules and creating moments of excitement while still preserving the graphical integrity of the architecture school portfolio presentation, is not possible unless a context of order has been established. The aforementioned three rules will help you establish that context. One of the issues that an architecture school applicant has to deal with is that they cannot be present when their portfolio is being reviewed. This means that a project may end up being misinterpreted, and under-appreciated, simply due to the lack of a proper presentation and story.

Presenting a project that is part of a portfolio for architecture school admissions is different from presenting a project in a portfolio at an interview, or presenting a project at a studio critique. The reason is that the creator of the project is present at the interview and the critique, and is able to make a proper presentation of all ideas, taking the reviewer through the different images on a wall or on a page, without having to invest too much time into the story-telling aspect of the portfolio.

When the creator is present, she can also respond to any questions that the reviewer might have, which means that she does not even need to cover everything during her basic presentation, because if something remains unanswered, the reviewer will ask about it. On the other hand, in the case of a portfolio for architecture school admissions, the applicant cannot be present at the review of the portfolio, and therefore the only way for the applicant to communicate the details and complexities of her thinking process is by using the design and development process of each project, in a way that will cover all bases of the project, and answer all anticipated questions of the reviewer.

This is the primary reason, why an architecture school applicant has to see his or her architecture school portfolio as a project in itself, and possibly the most important project of all, because it can amplify the message of the projects it contains, celebrating the strengths of each project, or it can mute this message, to the extent that a set of well-executed projects come across as dull and unsophisticated.

The primary way in which successful architecture school applicants are able to optimize their use their architecture school admissions portfolios, is by using them as story-telling devices. Telling stories is essential, because they tend to stick in the minds of the reviewers much more efficiently than dry facts about technical and programmatic aspects of the project. The best way to narrate a story about an architectural project is by narrating the story of the development of the ideas related to the project.

One can do it by emphasizing their process-related fundamental work, which through sketches, diagrams and text is narrated at a slow pace of one idea at a time, eventually leading to the subtleties of the design and development of the central concept of the project into a construct of some sort a building, a product, a vision or a strategy.

The real issue of course is trying to bring all the projects in the architecture school portfolio together in a way that they produce a cohesive story. The quality of the story that the portfolio tells, has to do with narrative, strategy, mission, graphics, layout and the overall organization of the entire book. It is important to grasp the game you are playing.

Using a portfolio is an opportunity to show that you are able to communicate your ideas through images of a variety of different media, which is an essential skill to have. Even if you are not that great at it, you will at least let the reviewers know that you are placing a lot of effort into communicating your ideas.

Text is almost never read in portfolios. It is unlikely that admissions reviewers will go over the written text in your portfolio. Part of the reason for that is that designers often tend to use text just to fill in gaps, to add a level of prestige to a project. In rare occasions, and when the reviewer is truly engaged by the graphic narrative of a project, she may read parts of the text in order to learn a bit more about the project.

Do not forget that the examiners will not spend more than a few minutes on your portfolio at least in the first and toughest phase of the selection process. Replace the extensive text with short references to the design and graphic material that clearly describes the concept. If you are invited to go to an interview at an architecture school, keep in mind that architecture school interviews take about 30 minutes.

These 30 minutes, are usually spent going through the visual material of your architecture school portfolio, and discussing it with the interviewer. During these interviews, interviewers will most likely not read any of your text. One thing to do is control the length of the descriptions and also the way that they are displayed on the page. Do not necessarily place the text of a page in a single block.

As mentioned earlier, t ext is also a good way to graphically fill up space on your pages where there does not seem to be anything else that could fit.

However, if there is graphic material that could say what the text says, use it and remove the text from your architecture school portfolio. We have already mentioned about a dozen times that you should begin with the development of an excellent strategy and mission in order to avoid wasting time by designing work that does not serve its purpose.

After that, try selecting a project, preferably your favorite one of the projects you have already developed, and try to discover how to tell its story.

Following your decision on the various aspects of the project, define the kind of story that you would like to tell about it. After you define the story and become aware of how your project fits in it and how the story fits in the overall synthesis of the portfolio, you need to begin redeveloping the project.

Create the missing pieces according to earlier instructions, and insert them into the story in a way that allows the project to be presented cogently and in a fun, exciting way. After you are done developing the drawings and models, take some beautiful pictures of them.

Do not worry about the quality of the photos, and you certainly do not need a professional photo camera. You can just use your cell-phone to take the photos and then try to bring out your own point of view as a designer. In fact, if necessary, adjust the pictures on Photoshop. To develop appealing projects, you have to do your best to communicate your process through your design work. Anything you are bringing to the table has to be present in your process, otherwise the examiners will not buy it.

It is through the intriguing subtleties of this process that you will win the hearts of the examiners. It is a very important factor to consider and try to determine early on. Many people wonder why there is a Resume page in the portfolio.

The answer is that you need to remind the architecture school admissions reviewers of your strengths any chance you get, and the purpose of a well-composed resume is to do exactly that.

Obviously it is not as important as your graphic work, but it helps establish a background and a context so that you can be judged fairly. Developing an exciting resume is therefore important, and there are many ways to do it. Do not hesitate to see your resume as a a tiny piece of graphics — a pamphlet — which is supposed to encapsulate the essence of you, your background and your capabilities.

Do your best to express your inner child, through humor and excitement. Architects have the reputation of taking things way too seriously. Use images that make your architecture school portfolio reviewers smirk. Do not forget that you are trying to sell yourself, not your projects, through this portfolio, to the reviewers of the architecture school admissions committees.

One of the best ways to grasp the attention of the architecture school portfolio admissions reviewers is through demonstrating passion and involvement, and the most reliable way for doing so is by demonstrating a process that takes the examiner through a step-by-step tracing of your battle to resolve the design problem. The best way to do this is through sketches. In your sketches you can show all your inner thoughts. In the strokes of each individual sketch you can capture your involvement in the process.

The only way to communicate how passionate you are is indirect. People will understand this about you through the imperfections of a beautiful, intense, hand-drawn sketch and its variations, or the multiple versions of a cardboard model that has been used and reused so much that it seems to be ready to fall apart. Passion is a factor that can really inspire people and turn things around, so I recommend you pay close attention to this comment. Hand draw as much as possible. Any person can draft with computer assistance, but drafting by hand shows true craftsmanship and allows you to expand your mind to laying out structures with shapes and curves that simply cannot be captured on a computer.

Some of your projects have to direct the conversation to issues that you are passionate about, not so much for the sake of the issues themselves, but to lead to what you have done in your life to address these issues as a leader and as a member of a group.

Begin by digging deep into your biography and find these issues, and then define ways in which you have dealt with them. Then, use your essay to describe your leadership ability, and also use your portfolio to bring the conversation back to those experiences. The examiners have no way of knowing how complex your ideas are, unless you present and analyze your concepts and process of development.

If you do, and then manage to pull all processes together in a poetic and clear way that tells a story about each project, and then manage to pull all the individual stories together to form a whole the portfolio , you will definitely come across as a very smart person. Do not fool yourself! Unfortunately, pictures of the final product do not demonstrate how smart you are and whether you can handle the development of complex concepts.

Even simple sketches can do it, as long as you show a serious and well developed process of thinking. Remember, they want to understand how you think! You need to demonstrate to the examiners that you are as curious as a 5 year-old child. Once again, this childish curiosity can be communicated through your process of thinking and resolving complex problems.

Great researchers are great at asking questions. In fact, most successful people out there tend to ask more questions than provide answers. By asking questions and using a Socratic approach in building the story of your projects, you indirectly ask the architecture school portfolio reviewer to participate.

This engages the reviewer and allows her to identify more with the work. Reviewers are themselves architects. They would love nothing more than to come up with their own possibilities for what the best final product could be. Allow this open-ended approach! When you embark on your journey to architecture school, there are many issues to consider, and the most important one is time management.

Your time is extremely valuable, and should be spent on the item of your architecture school application that carries the most value, and that is your architecture school portfolio.

The average architecture school applicant budgets less than 6 months for the full development of their application, and this usually includes GRE prep, and everything else required, so initially the applicant feels like she has plenty of time, until she does not, which is when she begins to panic.

This is usually at about 3 to 2 months from the deadlines. If your portfolio is not completed by December 1, you might as well not even think about beginning, unless you are planning to fail. On December 1, your portfolio should be ready, and you should only be adding final touches. These final touches usually take at least a month, and they often make the difference between a good portfolio and a great portfolio that can get you into top architecture schools. The best way to make sure that you do not waste your time is by calculating exactly how much time you have that you are willing and able to commit towards the development of your application.

This gives you about 12 weeks. Each week has 7 days, and each day has 24 hours, out of which you sleep for 8 hours. All of a sudden it looks like you have plenty of time to develop the portfolio for your architecture school application. Following your decision to commit to building your architecture school portfolio for 10 hours a week, you need to figure out how to allocate your available time.

Time allocation is not easy to tackle, primarily because of what is required to properly allocate time. It is virtually impossible to create a time allocation plan for the design of your architecture school portfolio or the development of your architecture school application if you do not understand the details of your work in relation to their impact on the overall picture of your application.

For example, on the surface I may look at my work and assume that one of my biggest problems as an applicant is that I cannot draw as well as some other applicants that I know, so naturally, I set out to learn how to draw better. I spend a minimum of 10 hours a week, for 3 months, trying to learn how to draw well, while producing some interesting drawings. However, had I known that demonstrating an ability to draw well is by far not a great value-generator, I would have at least limited my allocation, and would have instead used a more targeted learning approach that would minimize time spent and maximize my ability to draw well enough so I can put together a great set of projects for my architecture school portfolio.

This example discusses just one of the many areas that matter when someone is applying to architecture school. It is essential for the applicant to understand these areas, weigh different options, and develop a plan that is based on what would bring the most value to the portfolio.

Based on over interviews that we have conducted over the years with members of admissions committees, competition for admission to the top architecture schools has increased dramatically since , but has fluctuated quite a bit since This fluctuation is relatively random. There are years when the work of the competitive pool is at a very high level, and other years when it is not. Less popular schools of architecture are likely to also notice spikes in the competitive level of their candidates.

The reason why competitiveness often spikes in less known popular programs, may simply be that some of the most competitive applicants decide to apply to these architecture schools in an effort to secure merit-based financial aid packages that pay for their architecture school tuition and fees.

The problem is that noone no one knows when or where this spike in competitiveness will take place. In addition to drawing, a range of artistic media needs to be demonstrated, but each applicant should emphasize the work where their skills and passion are expressed most strongly. Painting, printmaking, sculpture, photography, video, woodworking, and other crafts can convey artistic experience and aptitude. Please submit slides with no more than two dedicated to the same project.

Images must be clear with no text on the page unless it is integral to the artwork. A carefully crafted caption for each slide should state the intent, elaborate on the process and method, and reflect on the outcome. Include a note that lists the size and medium of each piece, as well as whether the work was completed in class or independently. Any group projects should be credited accordingly, and the task performed by the applicant noted specifically.

A portfolio of creative work is required for admission to the School of Architecture. This is a personal statement about you, your visual training, interest, and aspirations.

Each portfolio is reviewed by an architecture admissions representative and is an important part of the way the school can learn more about you and your talents. It is critical that you adhere to all details regarding contents and presentation of your portfolio and meet submission deadlines.

Curious how to compile a portfolio for admission to the Syracuse University B. Join us for a portfolio development workshop where we will provide insight on developing your portfolio in a manner that best showcases your creativity, curiosity, and spatial ability.

Probably more so than when applying from high school, the portfolio is an important criterion when applying to a graduate program. If you background is NOT in architecture, do not worry about including architectural work, but rather include creative works — painting, studio art, photography, drawing furniture design, etc.

Completing a portfolio is a good reason to take an art or drawing course prior to applying. When applying to a graduate program with an undergraduate degree in architecture, you must be your own critic to determine what work to include. Again, follow the requirements of the institution to which you are applying.

Portfolio Content Guidelines Michigan, University of. Master of Architecture applicants are required to submit examples of their academic work and, if possible, their professional work.

All applicants are required to submit a portfolio of their work from academic experience, professional experience, independent projects, etc. Applicants to the M. All M. Arch applicants are encouraged to include non-architectural work within their portfolio. For applicants to the M. III program, the portfolio can include examples from architectural projects, if applicable. The portfolio should include work that demonstrates creative accomplishments.

Portfolio contents can be from any creative field, including design, photography, studio arts, film, writing, music, and performance. Candidates from technical disciplines, such as science or engineering, should contact the program to determine suitable application materials. If your portfolio contains group work, you must note this and describe your role in the project. Your portfolio is more than just a collection of your creative work; it is an opportunity to show your design skills through its layout, organization and format.

How the portfolio is done says much about you as a future architect.

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