Posts tagged with "Drawing":
- Andrew Burdick
- Bishakh Som
- Katie Shima
- Maitland Jones
- Pablo Castro
- Preston Scott Cohen
- Sam Picardal
Los Angeles–based artist and designer Hans Koesters unveiled an ongoing series of collaborative, improvised drawings at The School of Architecture at Taliesin in Scottsdale, Arizona. His project and exhibition, aptly titled Collective Consequences, shows what happens when a handful of people decide to draw simultaneously and unpredictably on one blank canvas.
Koesters began the project during a weekend-long drawing workshop at Taliesin West. There, he and his colleagues produced the “collective consequences” sketches by playing an adapted version of two drawing games, “Exquisite Corpse” and “Dot-the-Dot,” with groups of three to four students. The game taught students to analyze spatial relationships while responding to the ideas and design concepts of other artists.
The ink and graphite drawings that comprise the series are abstract, monochromatic, and influenced by basic elements of art and architecture, such as fine lines, intersecting planes, and intricate patterns. Koesters’s background and training in art and architecture allow him to merge the two disciplines as he and his colleagues put pen to paper to create this collection of bold, architectonic illustrations.Collective Consequences The show is only available via a tour of Taliesin West The School of Architecture at Taliesin The Kiva 12621 North Frank Lloyd Wright Boulevard Scottsdale, Arizona Through May 12, 2019
Christian Fankhauser, a recent graduate of Switzerland's École Polytechnique Fédérale de Lausanne, spends much of his spare time drawing facades from different periods, movements, and countries, and he has made a colorful Instagram account that has become a sort of repository of architecture across history. Through sketching a broad range of architectural landmarks, Fankhauser hopes to compare their common elements and stylistic lineage. To better understand the commonalities between structures, Fankhauser attempts to “remove the idea of scale, materiality, and paradoxically color, to focus on the proportions, the geometry, and the link between the elements constituting the facade.”
For the sketches, Fankhauser turns back toward Renaissance architecture, with a preference for buildings that began with the facade as an outward projection of the patron or owner’s prestige. Projects sketched by Fankhauser range from the 15th to the 20th centuries. Renaissance works, such as Leon Battista Alberti’s Santa Maria Novella (1458) and Andrea Palladio’s Villa La Rotonda, are simply etched; Ionic, Corinthian, and Doric orders are clearly discernible without the florid animation of flowing acanthus leaves or spiraling volutes. Similarly, the drawings forgo the play of light and shadows that define these Early Renaissance works; porticos, colonnades, and alcoves, are two-dimensional elements of the same shade and color as the rest of the assemblage.
The purpose, or methodology, of the sketches crystallize’s with structures of greater height and asymmetrical massing. Under normal circumstances, one is hard-pressed to find similarities between Giles Gilbert Scott’s Battersea Power Station (1939 & 1955) and Mimar Sinan's Süleymaniye Mosque (1558). Compressed into a smoothly digestible format, the towering smokestacks bear a similarity to the spiked minarets of Istanbul’s largest mosque, albeit with a boxier and less staggered base. This approach does veer in a slightly different direction with the playfully drawn renditions of Neo-Futurist designs such as Kisho Kurokawa’s Nakagin Capsule Tower (1972) or Archigram’s Walking City (1964).
Going forward, Fankhauser intends to catalog his sketches into a larger book and potentially introduce lithographic prints. More of his sketches are available on his Instagram page.
I approach a project from several sides, each time engaging in a full body contact with the place, the program, and the limits. The weapons I have available in this battle (which is more like Jacob’s wrestling with the angel or a battle of love) are few, and among these drawing is the most important. Drawing allows me to be a lot quicker, and at the same time, it forces me to stay rooted to the page and the project for long periods…Drawings produce other drawings and these, other drawings again, and in this way, gradually the labyrinth appears and project emerges.Opening Lines: Sketchbooks of Ten Modern Architects Tchoban Foundation. Museum for Architectural Drawing, Berlin June 30–October 7