Posts tagged with "Drawing":

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Never look at skyscrapers the same way after seeing Jai & Jai Gallery's latest exhibition

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

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A new stenciling app aims to make life easier for architects and designers

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.

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An exhibition delves into Lebbeus Woods's Zagreb Free Zone project

Room East, a small gallery at the Lower East Side, presented one of the more focused works by Lebbeus Woods that included both his manifestos, ideology, drawings, and conversations as artifacts. He was invited by a few like-minded architects from Zagreb, Croatia, to come to their city and—in a way—help the standoff in architecture as the result of politics. Room East presents models such as “Zagreb Free Zone Model” made in collaboration with a colleague. Other graphic works complement a fixation with form that is not standard and expected. In a video presented at the exhibition, Woods himself says that he wanted to form invisible social forces of a city that are apparent, but not built in form. To further this aim, Zagreb Free Zone sketchbooks are also on display. They are perhaps the ones that open up emotional learning of Woods being in a foreign country and contributing to the struggle of their own architects. It is a distinct and curious moment in time to observe the ideas of visionary and pioneer work that an architect left. Woods did not depict an optimistic future and utopian architecture for us to dream about. Woods spent his career crafting images in pencil and ink and in models of assumedly realistic conditions of human life that is distinct from the imaginary and widespread utopian dreams. Think of movies such as 12 Monkeys (the design for which Woods was ripped off by Terry Gilliam and then won a legal battle over the abuse of his work). Then take in dark futurism in films such as Resident Evil with Bruce Willis and Milla Jovovich, and The Dark Star by John Carpenter. In all of them, such as in the work shown at Room East gallery, the future is not depicted as bright and rosy. Instead walking into the gallery we are presented with a project for a city of Zagreb itself in 1991 at the beginning of last European war in the Balkans. Woods became a cult figure in places that felt they were left off the map of progress and needed someone to bring architectural struggles with society in conflict as form. This is perhaps why Woods’s premonitions in ink appear distinct from his near contemporary visionaries like Yona Friedman and Claude Parent. The drawings by Woods are dark to begin with and they are more punk than hippy, cynical and warning, rather than happy and optimistic. This dark genre is very well known to American underground scene of graphic novels, and it secured him the attuned attention from the countries that were in the dark situation politically, or perhaps ideologically, such as former Yugoslavia and the Middle East. Woods is adored there as he kept living the way as to how to work out of obscurity, national class inequality, sidelined off-centrism and born out of irrelevance. Wood’s exhibit at the gallery carried well his demeanor, managing to have his work exhibited beyond the bounds of nostalgia, bitterness or melancholy, and as art. The gallery claims that the exhibit is designed according to Woods own instruction. The exhibition also shows exchanges in notes and letters from Woods referring to Leo Modrčin, his student coming from Croatia and instrumental figure in landing Woods the commission for imagining the Zagreb Free Zone project in 1991. This exhibit also shows new and promising interest in architectural work that is graphic and at the forefront of social critique, or perhaps it may be art. Meaning that Western architects, such as Woods, can do work with the conditions in the East that are complementary to their social conditions and not neocolonial. Woods was very conscious of this, as is evident in the interview he did with Fedja Vukić, also on display at the exhibition. The document presents the unease of language used in the exchange between Woods and Vukić as many words are crossed out and edited for clarity. For New York’s nomads and residents in arts and architecture, the visit to this exhibition offers two major opportunities. One, there is a view of the work of an extraordinary architect engaged in a region that would otherwise be a black hole of global interest, but is a source for inspiring ambitions. Two, it is the vision for humanity that may inspire domestic architecture in New York by addressing living standards for the unprivileged class and focus on extraordinary design of those spaces. In that way Woods’s work is not just a graphic delivery, but also a crafted program to take in seriously and work with them when the conditions for Woods’s kind of reality become attainable. The exhibition Lebbeus Woods: Zagreb Free Zone was on view April 19 to May 22, 2016. All works presented at Room East gallery are from the Estate of Lebbeus Woods. Srdjan Jovanovic Weiss is an architect living and working in New York.
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Norwegian architecture firm takes their plans to the streets, literally

When it comes to floor plans, programs such as AutoCAD, Revit, and Rhino usually spring to mind. That, however, doesn't appear to be the case for Norwegian firm Vardehaugen. Based in Oslo, they are using their own office parking lot to mock-up plans, drawing them in chalk and tape. The technique allows the firm, and more importantly, their clients to visualize plans in a one-to-one scale instead of having to interpret them on-screen or at a much smaller scale. According to Slate, Hakon Matre Aasarod, a partner at a Vardehaugen, learned about life-size scale drawings at the Bergen School of Architecture. He described it as a "more abstract way in terms of getting to fully understand a site as a bodily experience.” After becoming a qualified architect, Aasarod said that he "realized the notion of drawing real scale was quite handy not simply in terms of understanding the site but also a way of communicating with clients." He also added that walking through the real life floor plans created “a place to start talking with the client.” "The ability to visualize the unbuilt is an important part of the architectural profession: Both in order to evaluate – and communicate concepts and solutions," say the firm on their website. "However, the bodily sensation of scale or the notion of simply walking through a room cannot be experienced through traditional 3D visualizations or scaled models." "Architecture is not an abstract geometrical size, but something concrete that relates to our bodily existence and the world around us," they add. "We therefore conduct real scale drawings in our backyard to ensure a greater understanding of size and proportions in our projects. This enables us to simply take a stroll through our projects and get a sense of dimensions and spatial sequences, – even before they are built."
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The MoMA's tribute to Zaha Hadid

The Museum of Modern Art has just put up a small tribute exhibition of the drawings of Zaha Hadid. It foregrounds her powerful image making and evocative and personal drawing style—the most influential of her generation. The tribute includes an exterior painted perspective of her competition entry into the Peak completion (1991) in Kowloon. Next to this painting is a series of 20 colored pencil, graphite, and ink hand drawings for Parc de la Villette, Paris (1982-83). These works—all from the period before her studio turned into an office—showcase working drawings that powerfully point to why she was considered such an important figure in the world of architecture. The exhibition was organized by Sean Anderson and Arièle Dionne-Krosnick of the museum's department of architecture and design.
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What a difference 400 years makes: Modern and medieval London contrasted in hand-drawn cityscapes

[beforeafter]London Bridge and Southwark Cathedral (Courtesy London Metropolitan Archives)(Courtesy Robin Reynolds)[/beforeafter] What would a young William Penn, prolific planner and founder of Pennsylvania—and London native of the 1600s—make of his home town today? He would probably admire how the chaotic life of trade, slums and hackney carriage horses had been reigned in, but chances are, he wouldn't recognise a thing. On view now at London's Guildhall Galleries is Visscher Redrawn, an exhibition offering a view through Penn's eyes thanks to two panoramic views of London taken 400 years apart—from 1616 to 2016. [beforeafter](Courtesy London Metropolitan Archives)(Courtesy Robin Reynolds)[/beforeafter] Dutch artist Claes Jansz Visscher's staggering 6.5-foot-long depiction is taken from an elevated viewpoint in the city and sheds light on the how London looked prior to the Great Fire of 1666 which destroyed much of what is depicted. The image is even more impressive considering Visscher never set foot in Britain. Emulating Visscher, artist Robin Reynolds—who has actually visited London—has completed his own view of London, using the same vantage point as Visscher. London Bridge, for example, has changed dramatically. It's hard to think that it was once a bridge that was a lively place with shops and houses hovering over the Thames. In the foreground of the top view, just left of London Bridge (at the bottom of the picture), is Southwark Cathedral, which was spared by the 17th century conflagration. The cathedral might be the only recognizable architectural element that can be seen in the two views. St. Paul's Cathedral, below, had no such luck. A dominant gothic feature in the 1616 skyline, it was burned to the ground. Poking out, in the same location in Reynold's drawing, is Sir Christopher Wren's variant. [beforeafter]St. Paul's Cathedral (Courtesy London Metropolitan Archives)St. Paul's Cathedral (Courtesy Robin Reynolds)[/beforeafter] Interestingly, after the Great Fire of London, Wren and the incumbent King Charles II had great plans for the capital. Wren drew on his experiences of Paris, envisioning wide boulevards to replace the narrow streets, though this was never realised as businesses were eager to remain in the same location. [beforeafter]The Glove Theater (Courtesy London Metropolitan Archives)Glove Thearer is barely visible today (Courtesy Robin Reynolds)[/beforeafter]
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Peter Cook shares his hand drawings of the newly opened drawing studio at Bournemouth University

The new drawing studio at Bournemouth University, designed by CRAB (Cook Robotham Architectural Bureau), is the first of its kind to be built in the U.K. for 100 years. It aims to be accessible to all students form across the university “to share and observe others’ work and interact with those from other creative fields.” The building, as AN reported yesterday, is designed to reflect the central theme of light and as its architect Peter Cook claims “in the tradition of looking and drawing.” There is no better architect than Peter Cook to design this artists' space since he has been breaking down academic disciplines for decades and has deeply held and thoughtful ideas about the role of drawing in contemporary production. His book, Drawing: The Motive Force of Architecture, details the rapid change in drawing technique in the contemporary world due to “the increasing sophistication of available software and also the ways in which ‘hand drawing’ and the ‘digital’ are being eclipsed by new hybrids – injecting drawing with a fresh momentum.” He has thought a great deal about the act of drawing and CRAB has designed a building of simple construction that foregrounds in a simple and direct way this primal act of creativity. This is a building one wants (we have not yet) to see in the light of day. In the meantime, we have been sent a series of drawings by Peter Cook on display here.
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On View> Three L.A. shows present a flood of architectural experimentation

Forget El Niño, this SoCal winter presents a deluge of architectural representation. Three weeks with three openings bring drawings, models, mock-ups, and experimental visualizations to Los Angeles. Things kick off on January 16 with the exhibition Errors, Estrangement, Messes and Fictions, featuring the work of two collaborative pairs: Laurel Broughton/Andrew Kovacs and Anna Neimark/Andrew Atwood of First Office (AN's 2015 Best Young Architects winner). Installed at the Space@All Gallery in the Bradbury Building and curated by architect Hadrian Predock, director of undergraduate programs at the USC School of Architecture the exhibition is supported by USC, where Broughton is a faculty member. Models from the four emerging architects will fill the show, which Predock describes as an “early career retrospective,” an apt description of a quartet who is just as comfortable cribbing from the past as toying with our pop present. A week later is the opening on January 22of Drawings Lie: Recent Works by Bryan Cantley at Christopher W. Mount Gallery in the Pacific Design Center. Cantley is an architect and a master illustrator, and his experimental, almost sci-fi drawings fall in line with the visionary work of Superstudio, Lebbeus Woods, and Neil Denari. “[These projects] attempt to question the role of representation in architecture, the potential of the non-building as a form of critical discourse in the profession,” said Cantley. The month closes out with Building Portraits, featuring the work of architect Elena Manferdini. The show opens on January 30 at Industry Gallery in Downtown L.A. The exhibition continues the investigations Manferdini began for the Art Institute Chicago last year—a series of elevation studies and models that riffed on Mies’ Lakeshore Drive Apartments. For this exhibition she’s created a new set of abstract, chromatic drawings and a metal mock up.
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Sir Peter Cook Provides Worthy "Audience" At Woodbury Thesis Exhibition

Earlier this month AN West Coast Editor Sam Lubell joined Sir Peter Cook and Woodbury University students and faculty at WUHO Gallery in Hollywood for Drawing Room: An Audience with Sir Peter Cook, an exhibition of thesis and degree projects and an informal discussion. Drawing Room_Super::Architects Cook, outspoken as always, lauded Woodbury's experimental, outsider nature, the ability of drawing to "elevate the conversation through the unknown," and "nutters" everywhere. His inspiration was omnipresent, with exceptionally-drawn (or drawn and combined with computer rendering), technologically-driven projects—rethinking housing, science facilities, humanitarian architecture, and so on— that paid homage to his quirky aesthetic. The exhibition was curated by Woodbury professors Peter Culley and Berenika Boberska.
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On View> Drawings by Hadid, Tschumi, Gehry, Libeskind, and Koolhaas are being exhibited right now in St. Louis

Drawing Ambience: Alvin Boyarsky and the Architectural Association Mildred Lane Kemper Art Museum Washington University in St. Louis 1 Brookings Dr, St Louis, MO Through January 4th The Mildred Lane Kemper Art Museum in St. Louis is currently exhibiting early drawings from some of the world’s leading architects including Zaha Hadid, Bernard Tschumi, Frank Gehry, Daniel Libeskind, and Rem Koolhaas. The works come from the private collection of the late Alvin Boyarsky who chaired the Architectural Association School of Architecture (AA) in London from 1971 to 1990. The collection includes about 40 prints and drawings from the architects, and nine limited-edition folios published by the AA. Those folios include works from Peter Cook, Coop Himmelblau, and Peter Eisenman. “Drawing Ambience offers a rare glimpse into a pivotal moment in architectural history and the imaginative spirit of drawing that was and continues to be instrumental to the development of the field,” said the Kemper Museum in a statement. The exhibit was co-organized with the Museum of Art Rhode Island School of Design and will travel to Providence in April. This is the first public museum exhibition of Boyarsky’s collection.
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On View> Urban Visions: American Works on Paper, 1900-1950

Urban Visions: American Works on Paper, 1900-1950 Indianapolis Museum of Art 4000 Michigan Road Indianapolis, IN Through September 30 An upcoming exhibition at The Indianapolis Museum of Art’s Alliance Gallery will explore the ways in which artists dealt with the rise of industrial modernization and urbanity. In the first half of the 20th century, rapidly changing cities served as inspiration for new portrayals of human expression within these new environments. “The spectacle of metropolitan life” is presented through 25 works from IMA’s print collection, including lithographs, etchings, and engravings from well-known artists such as George Bellows, Childe Hassam, Edward Hopper, Reginald Marsh, and Isabel Bishop. The exhibition will display the art alongside vintage construction photos from the Chicago and New York skyscraper boom, providing context for these early interpretations of the city. Pieces from lesser-known artist and architect Gerald Kenneth Geerlings, whose aquatinted technical drawings of the emerging cityscape highlight the juxtaposition of emotional romanticism and technological progress, will be on display at IMA for the first time since 1970.
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On View> Carlo Scarpa: The Architect at Work

Carlo Scarpa: The Architect at Work The Arthur A. Houghton Jr. Gallery The Cooper Union 7 E. 7th Street Through April 21 A collection of hand drawings and photographs of work by renowned postwar Italian architect Carlo Scarpa is on view for the first time in New York.  The exhibition depicts the conception and realization of two major works, the renowned Villa Ottolenghi (Bardolino, Verona, 1974–79) and the Il Palazzetto series of imagined interventions in a 17th-century villa (Monselice, Padua, 1969–78). Scarpa is renowned for his poetic expression of space through the use of materials and ornamentation, and visitors to the gallery will witness the architect’s development of spatial ideas through 22 original hand drawings of Villa Ottolenghi and 11 of Villa Il Palazzetto. Reproductions of historical photos taken of the Villa Ottolenghi before it was completed as well as recent and historical photos of Scarpa’s work at Villa Il Palazzetto are included, along with reproductions of his drawings for the Museo di Castelvecchio and the Museo Nazionale dell Arti del XXI secolo.