composite drawings :
it does not really matter whether you do the drawing in landscape or portrait, compositionally, it should work in both.
you could work on a regular piece of drawing paper. you could buy a piece of a1 watercolor paper, draw all over it and trim it down afterwards. you could purchase a piece of foam board and spray mount various drawings. you could find a scrap of wood and paint a couple of layers of gesso [http://www.aisling.net/journaling/gesso.htm] over it, sand it down and draw/paint/play all over it. not finding a "canvas" in time will not be an excuse. YOU SHOULD take this seriously. YOU SHOULD NOT be afraid of a larger drawing. feel the fear and do it anyway. do not spend time worrying, just start and if you feel you have messed up, continue to layer.
the point of this change is to learn to work quickly and efficiently with different media. it allows for more exploration of the different tools at your disposal. think of the drawing board as a balance with weights attached to each image you place upon it. the composition needs to be in a state of equilibrium. if you have a huge spot of red in the bottom left hand corner, you might want to have some type of line/drawing in similar tones at the top to weigh down an opposition. some links for composition, works for photography as well as architectural imagery : http://www.drawinghowtodraw.com/drawing-lessons/art-design-principles/art-balance-composition.html or just because its funny [http://www.kenrockwell.com/tech/composition.htm]
these drawings should have some of the plan lines you were working with for the paths of movement. they should have reminiscent tones of the lights/colors/shadows you have seen. they should work together and correlate. do we all know how plans/sections/elevations work? that is a possible way of thinking about it. just in case : http://www.technologystudent.com/designpro/ortho1.htm
think about what you are trying to show with your drawing. experience, movement, and light in the urban landscape is a good place to start. hopefully, you have been managing your time wisely and you can use the drawings you have already done as explorations that give you a place to start. any questions?
looking forward to it.
the great forgetting.
"_an architecture that dovetails into its site at not just the anthropocentric scale but at ecological scales, microcosmic and cosmoscopic scales.
_an architecture that has the capacity to reboot torn ecologies with helpful architectonic scaffolds, which dismantle themselves when all is well again.
_an architecture that traps more carbon than its environmental footprint. An architecture that contributes to the health of its users and environment.
_an architecture that hasn’t forgotten history, or how we are all different.
_an architecture that rejoices in that difference.
_an architecture whose exquisite tailoring is imbued with nuances that resonate with familiar and non-familiar worlds.
_an architecture that knows where it is and why it is and what it has to offer, but doesn’t deny its difference and ours."
color and texture.
nice explorations here, the colors in this quick study are really interesting together. scale this up and add detail.
i see a bit more detail here, however you are back to drawing what you think you see instead of what you actually see. zoom in on the tone and texture and articulate each piece. each bend in the bark and crack in the stone.
keep going, the color additions give it so much more energy. the darkness against the bright, vibrant lights.
tonal gestures
you tell me what it is. id love to know. the drawing makes me curious about the physical texture of the space. nice little study of the folds in a fabric here. could have been brilliant with more time devoted to it. hopefully, these studies will not keep stopping so abruptly.
why the helmet? are you saying something here or was the decision of the object an arbitrary one?
is the glass half full or completely empty?again, i want to know more about this space. i am curious. what is it and what happened here? and do i even really want to know. looks great, more detail please.
tone and color
working with techniques to capture shadow and light, texture and decay - trying to draw the nature of the urban scape and explore what interests each of us in that environment.
can you describe what a space feels like through a drawing? imaging more than what is there, adding to that and providing a description for the senses?
another walk allows us to seek materials that interact with light within the built environment. we observe the nature of varied conditions of materials.
each variation in texture is a different indicator of a surface and the way the light plays with that material. how can you describe that in tone?
what do you see in space? the depth of a channel as the water oozes under an overpass? the glint in the water as it moves? where is that surface? which way are the ripples moving? how can you draw the shadow when the sun is always moving?
first readings
dealing with the condition of the historical document, we must consider the meanings of signs in representation. if we consider architecture as a means to understand history, technological advances and human considerations through time, we also must dissect the position of the architect as a historian.
in his work, essays on heidegger and others, richard rorty places the philosopher and the novelist on oppositional sides of the thinking; he develops a polarity between the philosopher, whom he describes as an ascetic priest - maintaining an inclination for 'simplicity, structure, theory, and abstraction' - compared to the novelist - preserving a propensity for 'narrative, detail, diversity, and accident.'
we continue to discuss the architect as the philosopher versus the architect as the novelist. one concerned with the essence of societies versus one concerned with the idiosyncrasies of space.
2. http://www.notbored.org/newest.html
"Beyond a few speeches aimed at capturing a constituency, it has not been a question of standard of teaching, which is bad, or of type of school, which initiates into this "life." "Control" has been the central issue. All the protagonists would like to see the schools operating. It is a minor question as to who will administer (control) district classrooms, which, with or without racism, function to introduce human beings into a world, a "life," that moves further beyond anyone's control every day. Yet the mere raising of the question of control is dangerous. It is always possible that once people get an inkling that they can handle part of their lives, they might feel they can handle the whole thing; that people might realize that power is them, as individuals."
"and we all feel best when the control over all facets, all aspects of our lives resides in us alone." __
aesthetic references for the week : perry kulper, marcel duchamp, lebbeus woods
http://dprbcn.wordpress.com/2009/10/15/perry-kulper-revisited/
http://johnozed.com/wp-content/uploads/2010/10/nude-descending-a-staircase.jpg
urban exploration
as we wandered the city together and continued the ambles alone, we were able to let our intuitions guide us in an urban exploration. we discussed elements of the metropolitan landscape that had previously remained unnoticed.
LIGHT. MOVEMENT. SHADE. DECAY. SIGHTS. SOUNDS. SMELLS. EXPERIENCE.
the assignment[s] :
1. Revisit the walk we took and the images you're created. Do a drawing in plan of our journey and somehow correlate the perspectives/sketches you have done with your representation of your plan. [Myles, if you could pass on the gps locations you charted on your phone to everyone, that would be great] As you create the plan of our exploration, try to bring in some of the techniques we ousted in the site drawings. Think about color, light, texture, the style and size of the line, the significance of place, etc.
2. Allow yourself to wander [on a couple of other occasions] through your city/town/area of residence. This walk could be one you've done many times, a journey you've never experienced, a combination of the two or something else entirely. Regardless, try to pay attention to the little details and the sensual qualities of your surroundings. If you have been to any of these places before, this could be even more fascinating. There will be plenty of characteristics that you may never have noticed. Do another set of drawings for each, again relating plan, perspective, and experience.
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