Tag Archives: Drawing

Narrative Poster & Narrative Landscape


“Some truths are better kept behind a screen,
Especially when they would look like lies”
 
Lord Byron, Don Juan
 

scanscan-1

Above is a diagram in sequence of the narrative through the screens. We maintain a split screen set-up for the background with several screens moving over as we construct the story. One screen begins the first video call session then within that we have other calls to other screens until we loop through 3 different sites back to our split screen set-up.

scan

Some thought-sketches developing a story that could feature both the “notes” that caused a stir on the news which we discussed yesterday (see link below) as well as some of my diamonds.  We also see the locations that the screens will take us through. Essentially the screens become an apparatus for constructing a drawing.

I am developing the set up for the screens to accomodate the story but the idea is that this time as the screens set up the narrative we are having the “narrative poster” appear in parts as the story is constructed.

Minister dismisses ‘have cake and eat it’ Brexit notes

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Drawing the portals

Sketched the portals after our tutorial on Friday. Now going into rhino world to make this happen.
The window and the ladder take you from “real London” to “you are a thieve ” back through the window you are in crab key. The window is the the aquarium room glass wall that changes scales. Then zoom in to the copper lift (next portal) and don’t know where it goes from there yet.
Underground there is the tube that becomes the pipe in crab key.

Thought about the map parameters and how they will change in section and elevation.

Questions to think about :
What is the difference between a map and a plan?
When does the map become a plan? Or an elevation /section?
What are the architectural elements that can be read in plan and section in the same way? The window. The lift… What else?

Drawings to be a hybrid of technical section drawings and colourful illustration.

Update later or tomorrow on progress

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Oliver D.C.

One-big-cut copy
Click for larger

“Chaos is the basic prerequisite of today’s city”
–Kazuo Shinohara

(Currently cutting and puzzling)

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Connection & Sequence

One-big-drawing2
(Click to view large)

This is the current plan of my city of stereotypes. It is essentially made out of (at the moment) four districts, each discussing a character trait of the contemporary city that I approach by beginning in the cliché, and tracking myself outwards from it to uncover the discussion I want to have on the architecture of the city (and the city of the architect). The current argument of my project is that the cliché can be our starting point, but the end result doesn’t have to be one. The process my architecture goes through is one of de-stereotyping, by drawing outwards from the core, hosting it (in the sense of providing a house for a house), cutting it apart and reassemble it like a puzzle, not to remake it as it originally was but to make it as what could be. (Here I plan to rip off my turtleneck sweater and reveal the most garish shirt I can find in London.)

About the different sections, I have combined elements from each drawing to form a coherent whole, where we can see how the city can be assembled through individually unrelated forms. The forms are presented as-found, as if I forgot I was the one who created them. The four areas are, as one would guess, not exclusively manifested as “pure” programs, or “pure” space. For instance, the factory (Shenzhen) also supports housing for the workers and a harbour shipping out the containers full of brand-new cars. The Spir(mix)ual Ground is a combination of East and West, the Catholic church from my recon and the Shinto temple from me-as-a-cliché. In the middle of this section, the art museum with the De Stijl and James Turrell spaces form a centrepoint, claiming the identity of art as the spirituality of our contemporary society. Likewise, the other two parts are infected with differences: the “Mumbai” part draws a city on the verge of conflict, where slum and luxury houses and flats exists so close to each other that they could almost merge (but not without violence). The separator between the two is taken from the formwork of my concrete in-situ stereotype. And finally, the shopping area is the point where consumption and production merge, instead of being further alienated from each other. Transports of fresh products and garbage run in and out of the city, and the products on the shelves are shifted constantly.

I have set off two areas for models so far, but I want there to be more. I think I will replace certain parts of the connections between the areas with these models, although I will have to think about what these will look like. Also pondering on how to feed back a digital, raytraced 3D-model into the drawing, and, at some point, colour.

EDIT: Kind of looks a bit like this, doesn’t it?

knossos_palace_plan copy

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The Squeaky Puzzle Gets The Grease

One-big-drawing copy

Going to multiply, multiply, cut-copy-paste my way into seventh architecture heaven.

At the moment, I’ve just edited the drawings and put them on one sheet, now comes the task of shifting them around to unfold the story/argument/discussion/debate I want to propose. Will think more about what the cliché means to me, how to dig deep into it, how to fully embrace it, digest it, and become one with it (to do: buy turtleneck).

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Favela-Chic

DSC_0213 copy

Nothing is demanded.
Everything is negotiable.

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From One to Many Points

131203-top-view

When a drawing takes up to a year to finish
we will surely have changed in the mean time
and what we began on has changed in the drawing
in the same manner that a personality slowly morphs
in and out of being, in and out of knowing and unknowing.
The vision makes reality, but then reality makes the vision
and for every stroke we land on the paper, there is another
crossing out neurons, replacing the activity in the brain
from one cor-textial place to another. It is
text and form as a hybrid; drawing as a language
and poetry as dependent on the form imagined.

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