Fluid Thoughts into Actions

Part of collaborative exercise

The key lesson learnt from this workshop was that architectural sketches should be spatially based rather than narrative based.   This was barely achieved in much of the drawings produced in this workshop, with many drawings (especially the exquisite corpse and the described scene) clearly expressing a narrative rather than a space.

- Drawing activites overall

-Week 1: freehand charcoal on a stick exercise

-Week 2: sketches made during visit to opera house 

-Drawings of Opera house

-Drawings of other internal/external spaces

- Part of collaborative exercise: - scene described via email - the problem with this drawing is its focus on the story behind the image, there is no sense of space in this image.  The composition itself is focused on drawing the eyes through the rolling waves and (mainly) to the people playing on the beach.   - there should have been a braver use of abstraction and distortion to exaggerate spatial elements of the beach and hence bring them out. 

- while people (I think) are fundamental features to any architectural drawing, there should not have been so much focus on them in this drawing and all my other drawings in this workshop.

Half of an Exquisite Corpse

- part of collaborative exercise with Benjamin Mashford (http://bmashford11.blogspot.com/)

- It seemed a good idea at the time to create a narrative to assist in the sequence of the exquisite corpse.  Although this produced interesting results, the exquisite corpse in the end was out of the context of the exercise!  

- key comment during submission:  no need for TOO MUCH narrative

  

ARCH 1142 Architectural Communications - Fluid thought to actions

Brodsky and Utkin

The conceptual architects Brodsky and Utkin were chosen as a source of 'inspiration', for both the works they produce and the meanings behind them.  Not only does each etching convey a close attention to line, to precision, but also a fine use of tone, creating spaces (although 'two dimensional') that explore a form of architecture with no limits.  

Sam Weber:  http://www.sampaints.com/

There is the same balanced focus on line and tone in Sam Weber's work that suggest a space even beyond the image.  In the second drawing, the intricate use of lines on the deers' antlers combined with the foliage at the bottom of the image encourage the eyes to wonder around the image, while the various shades on the deer create a sense of depth, as if each deer were walking beyond the page. 

SketchUp model link - elevators and furniture

http://sketchup.google.com/3dwarehouse/details?mid=415d22c9b9154c146f44b61cfa14aeb9

Studio attendance

FINAL UT environment

Exterior with moving elevators
Image: Above: Jobs' working space, Between: meeting space, Below: Versace's space


JOBS interior
Bottom floor: Jobs' space follows a 'narrative' that reflects on his journey through his career. One characteristic of Jobs that is paramount to his powerful position that I sought to express through the space of the office (which is built around a winding path that follows the building's exterior) is resilience. Jobs' career follows an up and down trail, from being the CEO of Apple, to losing his job and to once again gaining it and assisting in the 'revival' of the company. The bottom space of the office explores Jobs' current position: powerful in the sense that the success of the Apple company is very much due to his abilities, as a charismatic and seemingly genuine speaker. The furniture in this space, for instance, leans towards Jobs' office table, suggesting how many people revolve around this one figure.



Top Space: The upper floor of Job's office, which also includes the entrance to the space, is an attempt to explore the secretive nature of Jobs not as the CEO of Apple, but as himself. It is here where I believe much of Jobs' talent comes from, one away from busy-ness of meetings and exhibitions, and completely isolated.


Tranquil space, isolated and dominated by its surroundings, open to the sky. Contrasting to the office's lower floor, the space welcomes and focuses on sheets of light from the surrounding sky, rather than on the contained furniture.


Meeting Space

The meeting space for Jobs and Versace places focus on the meeting table as a symbol of power. Inspired by origami, the table explores the idea that power eliminates boundaries, boundaries that have been overcome by both Jobs and Versace in order to succeed. In the case of the paper inspired table, the table breaks the physical, material limits of paper by suggesting the possibility that people can sit and use this object.


The table's sleek angular appearance draws aesthetic qualities from the work of both Jobs and Versace who are - through from different 'sectors' - both associated with fashion. The strong angles (emphasised by the whiteness) reflect Versace's extravagant style and at the same time Jobs' own association with the sleek designs of Apple.


Versace Interior

Central to the idea behind Versace's space is, of course, fashion, particularly the catwalk. Donatella Versace's famous for her extroverted style, conveying a style that is very much aware of those watching. Hence, Versace's office space includes ramps and elevators overflowing with light, as if while walking, Donatella is always in show.




Being associated with fashion, Versace is always in the spotlight.

UT MAP FINAL

note: the elevator beneath Versace's office is a one way ride

UT MAP DRAFT 3

UT MAP DRAFT 2

UT MAP DRAFT 1

Final Lighting and Texture

Jobs interiors



Meeting Space


Versace interior

Texture tests

- Using a concrete-like texture instead of just the colour white adds weight to the image.
- More lighting on the upper space is favourable