Posts tagged with "Drawing":
The small but provocative exhibition Re-constructivist Architecture at the Ierimonti Gallery on 57th Street forecasts a major shift in the way emerging architects are thinking about architecture today. Curators Jacopo Costanzo, Giovanni Cozzani, and Giulia Leone, in conjunction with the Casa dell’Architettura in Rome, have selected the work of 13 young architectural groups whose members were born in the 1980s to develop proposals for a residence in the Roman countryside. The projects fill three walls of the gallery and are intended to challenge the previous generation of older venerables. To that end, posted on the wall directly across are three projects by deconstructivist “starchitects”: Peter Eisenman’s Yenikapi archaeology museum, Coop Himmelb(l)au’s Art Museum in Strongoli, and Bernard Tschumi’s rendering done specifically for the show, A house like a city, a city like a house.
While the winner has yet to be determined, the exhibition does highlight several important new trends.
It is intended more as a battle than a debate. That the younger architects feel entitled to challenge the Goliaths of the field signifies a fresh and audacious confidence. This new generation intends to offer alternative modes of thinking that signal a change in focus within the field, and eventually to question the premises, concerns, and lavish extravagance of the previous one. Interestingly, they do so by reaching back to the architects of the 1960s, who were devoted to exploring the language of architecture itself. This reversion to an older source would seem to be a conservative move, a kind of retro or revivalist approach. However, these young architects, who certainly acknowledge the “bravura” of the deconstructivists, are instead revisiting the values and cultural concerns of such groups as GRAU, Superstudio, and even Archigram. The theme of the show itself seems reminiscent of architectural exercises at universities where these 30-year-olds studied, especially the projects for the classes of the late Alessandro Anselmi, whose exquisite drawing appears on the announcement for the show as an homage. Importantly, the proposals avoid grand utopian visions and eschew extravagant megastructures. Instead, the theme requires them to confine their efforts to developing plans for a simple structure, and to exploring how to generate a simple home responsive to its natural setting. The projects, then, reexamine basic notions of place and how to design for living on a truly “human” scale.
Secondly, while there are three models in the exhibition, the proposals are primarily graphic. Like architects of the 1960s, these emerging architects deploy drawing to convey their concepts, with each group presenting only a plan and small rendering of their project accompanied by a more-or-less helpful description. Interestingly, the projects vary enormously among themselves in the way in which they are rendered. For example, the group AM3 from Palermo, Italy, elected to represent its solution in the form of two small etchings, executed in a loose, traditional crosshatch technique. AM3 chose to situate its villa on Lake Nemi, a design inspired by the legend that the Emperor Caligula had two gigantic ships built there as floating palaces. Of particular beauty are the drawings by the Portuguese group fala atelier. While the rendering is elegant and clear, the description verges on the poetic crypto-theoretical. It anthropomorphizes the site, stating that the house is “sequential and schizophrenic” with the central void defined by the surrounding wall that “competes with the landscape” and is both “attracted and repulsed by its site.”
Particularly suggestive is the project by the Warehouse of Architecture and Research. The point of departure is a ruin—a kind of palimpsest ubiquitous in the urban and natural settings of the region. The ruin is then animated by a visitor, the so-called “colonialist” seen in the drawing. This subject adds Venturi-esque elements to the site with ironic verve, as if cataloging the various forms in the contemporary architectural vocabulary. What results is an improbable composite in which the various styles and elements elide into a fantastical yet cozy home, a kind of faux-picturesque pastiche. The group Fosbury Architecture based in Milan has produced a dramatic solution: From the square plan rises a kind of cone-shaped thatched tower punctuated by a single enormous column at the center. The hollow column is penetrated by a winding staircase that ascends to an area, one assumes, for contemplation, similar to the solitary towers pictured in Walter Pichler’s drawings. Significantly, the descriptions all share a contemporary ironic undertone that is without a trace of nostalgia or sentimentality.
An essential modus operandi is the use of collage as a way of conjoining past and present, as it allows the connections among the pieces to remain hypothetical and to function as propositions capable of triggering discussion. In fact, the exhibition is only a part of a larger project. The plan is to use the show as a springboard for a series of conferences in Rome that address the significant issues uncovered by it. Beyond the evident visual eloquence and high level of craft, what the show reveals is that the two generations are speaking about distinctly different realms of architecture, and what the new generation is advocating is the retrieval of certain classical, historical values as part of the conversation.
Re-constructivist Architecture Ierimonti Gallery 24 West 57th Street, New York Through February 10
Conceived as accompanying illustrations for Olson Kundig’s award-winning science fiction story entry to Blank Space Project’s annual Fairy Tales competition, the project is part of Olson Kundig’s broader investigation of rooftops. Each image depicts the main character of “Welcome to the 5th Facade” at five plot points and presents a future vision for Seattle, where the story is set. The hybrid images are comprised of four separate media types: mural-size drawings in charcoal and pencil on canvas, portrait photography, and CGI.Honorable Mention, Architectural Representation > Analog: MEM: A Chapel & Columbarium
Architect: Robert Hutchison Architecture Location: Wye Mills, MD
This project is a conceptual exploration of memory in architecture: A son, confronted with his father’s loss of memory, requested a design for a family chapel and columbarium as an attempt to have a conversation with his father that he could no longer have.
Honorable Mention, Architectural Representation > Analog: Pierce Skypark
Architect: Page Location: Houston, TX
These hand-drawn renderings of a transformed section of Houston’s former elevated freeway were a strategic choice to generate interest and dialogue in the project by conveying a sense that the concept was still “in progress” and open to feedback.
Preparing for an installation titled Nine Drawings, Seven Models, NEMESTUDIO chose to present much of their recent work in one imaginary landscape, recalling the tradition of capriccio painting, in which architectural ruins are collected into an imagined place where they can be seen all together.
Honorable Mention, Architectural Representation > Digital: Breaking BIM
Architect: mcdowellespinosa Location: (Conceptual)
Breaking BIM explores a perceived shift from representation to visualization by probing whether architects can benefit from real time model feedback available from Building Information Models to further experimental design and new visualization objectives.
Honorable Mention, Architectural Representation > Digital: Pacific Aquarium
Architect: DESIGN EARTH Location: Clarion-Clipperton Fracture Zone, Pacific Ocean
As part of a forthcoming publication to help us understand environmental crises, Pacific Aquarium appropriates the aquarium to highlight the alarming distance between our self-focus and Earth consciousness. Each of the nine drawings presents a section of the ocean that reflects resource exploitation and climate change.
Hot On the Heels of Love: Sensational Speculations, an exhibition by John Southern and his firm Urban Operations currently on view at Jai & Jai Gallery in Los Angeles, attempts to collect almost 10 years’ worth of research surrounding the spatial and functional aspects of the skyscraper into one quasi-retrospective. The exhibition aims to enliven the tower, a “spatial manifestation of the sociological and psychological experiences exacted upon the modern individual within the territory of the contemporary metropolis,” by viewing tall buildings—loosely defined and subject to the tendencies and extremes of late-stage global capitalism—as more than simple aesthetic statements. Instead, the collected works are showcased as multifaceted ruminations on not only what tall buildings have been and can be, but also as a collection of sensational projects produced as cultural artifacts in their own right, representative of the times in which they were created.
Hot On the Heels of Love: Sensational Speculations by Urban Operations Jai & Jai Gallery 648 North Spring Street, Los Angeles Through January 2, 2017
Using a stencil, either for a plan or section, is nothing new for architects. Whether it's marking the outline of a 1:20 scale person, bed, kitchen unit, or tree, stencils have been making life easier for designers for ages. Today's architects are well aware of the wealth of digital stencils available online, however, app developer Morpholio now claims to haven taken this one step further.
In what they claim to be a "stencil revolution," Morpholio has unveiled a customizable stencil tool that can be used in conjunction with Trace App (also by Morpholio). Essentially, "Stencil" allows users to quickly turn images into stencils. The patent pending tool also provides the option of turning this into a customizable template, with the stencils themselves being scalable.
"Creating stencils sits perfectly between the architect's sketch and the quick photo," said Mark Collins, a co-creator of the tool speaking in a press release. "You're trying to capture something—a texture, pattern, or detail that you want to use. Sketching is great but slow. Taking a photo buries it in the photo album. Generating a stencil automatically creates an incredible tool that you can utilize in various ways. The stencil is the quickest path to [distilling] an image into an actionable idea."
The app asks users to set the contrast, inversion, and any transformations when going through the stencil creation process. When used with Trace App, stencils can be colored and have textures applied through brush types such as pencil, charcoal, marker, and brush. This can be done by setting the stencil and sketching over it with any brush or color. In addition, stencils can be used to form patterns and art, all of which can be applied "at any scale."
While custom stencils can be shared through social media and cloud services, Morpholio's app comes with a selection of pre-made illustrations and symbols that have been "artfully created for architecture, interiors, industrial and graphic design."
"Here we witness, through art, the power of stencils delivering rigorous detail with extreme efficiency; an almost perfect optimization of craft, process, and drama," said Toru Hasegawa, Morpholio co-creator. Meanwhile, Anna Kenoff, another co-creator said: "Allowing designers to draw and work in a fast and uninhibited space is the path to discovery. We want to bring these opportunities into the digital realm, combining analog process with new media that stays at your fingertips and keeps the creative process flowing."
To download Morpholio's apps, visit their website.