Architectural communications has been one of my favourite courses so far in architecture. Each workshop that I took (architecture in motion, atlas of colour, architectural drawing) has been so different and unique, and I feel I have learnt new sets of skills from each one. Architecture in Motion helped me to develop skills in non-verbal communication, stylistic drawing, sequencing images and film-making. Atlas of Colour allowed me to try my hand at various forms of visual communication, including painting, collage, and assembling of materials into a book. Finally, Architectural Drawing helped me to refine my technical skills in precision and linework for presentation drawings.
However, what I have found most interesting was not how different each course has been, but how one can pick up on common threads running throughout. Architecture is not simply an object: it encompasses feelings, emotions, experiences, ideas and concepts. Architecture In Motion taught me to understand architecture as a device that can transport you to another state both mentally and physically. Atlas of Colour taught me that architectural gestures can speak to subconscious ideals of beauty and harmony. Architectural Drawing taught me to see buildings not simply as objects, but as vessels for ideas and thoughts. I see all of these ideas as relating to a deep, intangible notion of the beauty and essence of great architecture, and I will strive to bring these ideals into all that I design from now on.
Tuesday, October 21, 2008
Drawing Workshop
This drawing workshop was really useful to me personally, as I have often had trouble with the technical aspects of architectural drawings. So far, I have generally been far more successful with loose sketching and rendering, than I have with technical drawings, so I chose this course as a way to improve on this area. I feel of all the communications courses I took, this is the one where I have made the biggest improvement. An understanding of page composition, line weight, technical precision, and drawing technique has enabled me to create final presentation drawings that I am very proud of. I am really excited for the next Design Studio submission, as I feel I will be able to easily transfer these skills we were taught into the presentation drawings that we have to submit for our final project.
Final Images for submission:
In this course we were pushed to examine a building, and construct presentation drawings that revealed your own personal understanding of said building. In the graphic composition, I tried to represent both the strong verticality and simplicity of the external shape of the building. For the 3D perspective drawing, I drew three images: the first, an angled perspective of the building; the second, I drew all the negative spaces of the building from the same perspective; and in the third, I exploded these negative ‘boxes’ to give a better view. I believe the building plays on notions of positive and negative space, with a simple overall shape that has been cut and dissected, creating an ultimately complex form. It was my intention to convey the interesting horizontal and vertical spaces within the building, through these drawings.
I chose to spread the drawings out as with as much white space as possible, to create a greater impact for what black lines I did put on the page. I also found that using artline pens on trace paper leaves a bold, beautiful and almost glistening effect. I would really love to use this style again in Design Studio.
Draft Images:
Previous Exercises:
Plan, section, elevation of cup and saucer
Rendering of Botta house (placing building within a different landscape)
Final Images for submission:
In this course we were pushed to examine a building, and construct presentation drawings that revealed your own personal understanding of said building. In the graphic composition, I tried to represent both the strong verticality and simplicity of the external shape of the building. For the 3D perspective drawing, I drew three images: the first, an angled perspective of the building; the second, I drew all the negative spaces of the building from the same perspective; and in the third, I exploded these negative ‘boxes’ to give a better view. I believe the building plays on notions of positive and negative space, with a simple overall shape that has been cut and dissected, creating an ultimately complex form. It was my intention to convey the interesting horizontal and vertical spaces within the building, through these drawings.
I chose to spread the drawings out as with as much white space as possible, to create a greater impact for what black lines I did put on the page. I also found that using artline pens on trace paper leaves a bold, beautiful and almost glistening effect. I would really love to use this style again in Design Studio.
Draft Images:
Previous Exercises:
Plan, section, elevation of cup and saucer
Rendering of Botta house (placing building within a different landscape)
Monday, September 22, 2008
Colour Theory Workshop
Of all the architectural communications courses I took, Atlas of Colour was easily the most demanding. From week one, we were consistently pushed to create interesting and personal artworks or exercises that demonstrated the colour theory we were learning in class. I believe it was this constant push to try new things, experimenting with different mediums, colour combinations and techniques, which resulted in an ultimately satisfying ‘Atlas of Colour’. Each week we were taught theory on colour (how different colours work together, how to create active and passive colour schemes). This was all completely new to me, and I found it fascinating. At the same time, we were taught new techniques to apply this knowledge (use of watercolours, inks, collage). I had never used watercolour paints before, but I found it to be a captivating medium to work with. For this reason, I chose to branch out and experiment as much as possible with watercolour, using it for a number of different exercises. Even in the short span of a few weeks, I think you can see an improvement in my paintings. This is a new skill I feel will be extremely useful over my architectural career, as I have already started to do watercolour paintings regularly in my own time, both as concept sketches in design studio, and for personal interest.
I found the practice of constructing a physical book to be fun, challenging and rewarding. I was very happy with my final Atlas, and the way it was navigated. I chose to split the book into two halves along either side of the accordion fold. One half housed the colour theory notes we learnt, whilst the other displayed the exercises we had done in class and at home. Because I felt there was such a strong link between the theory and the exercises, I decided to physically link the two sides. I cut circles in the pages, which allows the reader to glimpse the colour exercises through these holes, whilst reading the colour theory notes. In this way, both sides can be read simultaneously, and in comparison with one another, rather than the more boring approach of reading one side, then reading the other, without understanding a link between the two. Within the actual book construction, I kept to a simple colour scheme, using only a light cream paper with deep red lining, and a red ‘thread’ that starts on the title page and continues throughout the book, leaping through the holes, and leading the reader on a ‘journey’ through the colour atlas.
We were asked to make a ‘tunnel book’ on the end of our Atlas. I felt this was a way to demonstrate an understanding of what we had learnt in the preceding weeks (colour schemes, composition, physical construction). Again, I kept the colour scheme simple, using only different shades of red. As inspiration for the tunnel, we looked at an art installation that featured veils of glass stained with colour. Rather than literally trying to recreate the boxes of colour from this installation, I took the idea of layered colours, and developed it in my own way, to create a swirling tunnel of shaded reds.
Colour 'mountain' (colour wheel according to intensity of hue)
Photoshopped window inspired by 49 veils (the one in my book looks really different to this, but every time I upload it, it seems to reverse the colours. I actually don't mind the look of it like this though)
Watercolour Rendering of CCTV Tower - Rem Koolhaas
Watercolour map of Rem Koolhaas's face
Collaged plan of Seattle Public Library - Rem Koolhaas
Collaged Elevation of Seattle Public Library - Rem Koolhaas
watercolour rendering of 49 veils (personal interpretation)
quick sketch I did whilst at the 49 veils (I didn't have colour pens, or even a lead pencil, so I had to make do with black ink)
Study of Precedent Book - S,M,L,XL by Rem Koolhaas
I found the practice of constructing a physical book to be fun, challenging and rewarding. I was very happy with my final Atlas, and the way it was navigated. I chose to split the book into two halves along either side of the accordion fold. One half housed the colour theory notes we learnt, whilst the other displayed the exercises we had done in class and at home. Because I felt there was such a strong link between the theory and the exercises, I decided to physically link the two sides. I cut circles in the pages, which allows the reader to glimpse the colour exercises through these holes, whilst reading the colour theory notes. In this way, both sides can be read simultaneously, and in comparison with one another, rather than the more boring approach of reading one side, then reading the other, without understanding a link between the two. Within the actual book construction, I kept to a simple colour scheme, using only a light cream paper with deep red lining, and a red ‘thread’ that starts on the title page and continues throughout the book, leaping through the holes, and leading the reader on a ‘journey’ through the colour atlas.
We were asked to make a ‘tunnel book’ on the end of our Atlas. I felt this was a way to demonstrate an understanding of what we had learnt in the preceding weeks (colour schemes, composition, physical construction). Again, I kept the colour scheme simple, using only different shades of red. As inspiration for the tunnel, we looked at an art installation that featured veils of glass stained with colour. Rather than literally trying to recreate the boxes of colour from this installation, I took the idea of layered colours, and developed it in my own way, to create a swirling tunnel of shaded reds.
Colour 'mountain' (colour wheel according to intensity of hue)
Photoshopped window inspired by 49 veils (the one in my book looks really different to this, but every time I upload it, it seems to reverse the colours. I actually don't mind the look of it like this though)
Watercolour Rendering of CCTV Tower - Rem Koolhaas
Watercolour map of Rem Koolhaas's face
Collaged plan of Seattle Public Library - Rem Koolhaas
Collaged Elevation of Seattle Public Library - Rem Koolhaas
watercolour rendering of 49 veils (personal interpretation)
quick sketch I did whilst at the 49 veils (I didn't have colour pens, or even a lead pencil, so I had to make do with black ink)
Study of Precedent Book - S,M,L,XL by Rem Koolhaas
Sunday, August 17, 2008
Architecture in Motion Workshop
I found this workshop to be both a fun and interesting learning experience. Some may have discounted film as irrelevant to architectural practice, but I found it very useful in the way we were pushed to think of architectural experiences beyond the everyday. Through documenting a space, and morphing it via modelling and drawing, I tried to convey the notion that architectural spaces can hold significant emotional impact. My film featured a man entering a room, as the ceiling begins to drip liquid. He stumbles through looking for an escape, as the black liquid comes crashing down around him, quickly filling up the room. This substance begins to possess him, and he stumbles towards the wall, looking for a way out. This wall cracks apart, leaving him entirely alone in a great wasteland.
Within my film, I tried to reference the way different architectural spaces are related to one another, and can cause strong emotions and elicit powerful reactions. The film is clearly metaphorical, and a demonstration of the strong effect certain architectural spaces can have on people. I believe in this way, film as a documentation of architecture can be an extremely powerful tool. Finally, I believe that Architecture in Motion was a great course, as it allowed us to experiment beyond 'conventional' architectural modes of communication.
This is the final film:
Stills from the final film:
The techniques of assembling a stop-motion film, and drawing the various components with charcoal, provided a great learning experience. With this knowledge, I really would love to return to the medium at some stage and create another film of this sort. I have always been interested in film, and I think this is a great way to tie in this interest with my interest in architecture.
Concept Sketches/drafts:
Early Storyboarding/Ideas
Within my film, I tried to reference the way different architectural spaces are related to one another, and can cause strong emotions and elicit powerful reactions. The film is clearly metaphorical, and a demonstration of the strong effect certain architectural spaces can have on people. I believe in this way, film as a documentation of architecture can be an extremely powerful tool. Finally, I believe that Architecture in Motion was a great course, as it allowed us to experiment beyond 'conventional' architectural modes of communication.
This is the final film:
Stills from the final film:
The techniques of assembling a stop-motion film, and drawing the various components with charcoal, provided a great learning experience. With this knowledge, I really would love to return to the medium at some stage and create another film of this sort. I have always been interested in film, and I think this is a great way to tie in this interest with my interest in architecture.
Concept Sketches/drafts:
Early Storyboarding/Ideas
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