a mapping exercise done on 2012.06.22. i struggled for a while figuring out what i should draw there. the place is overwhelming. something about it’s scale fooled me into forgetting about it’s very obvious axial arrangement. perhaps it’s the break of the axis in the southeast corner that leads up to the organ fountain [which we were lucky enough to hear play]. i still lack confidence in representational drawing out in the field which is one of the reasons for me to be here in Rome, but the mapping was an interesting experiment in mixing representational and diagrammatic drawing. and it was FUN!

a mapping exercise done on 2012.06.22. i struggled for a while figuring out what i should draw there. the place is overwhelming. something about it’s scale fooled me into forgetting about it’s very obvious axial arrangement. perhaps it’s the break of the axis in the southeast corner that leads up to the organ fountain [which we were lucky enough to hear play]. i still lack confidence in representational drawing out in the field which is one of the reasons for me to be here in Rome, but the mapping was an interesting experiment in mixing representational and diagrammatic drawing. and it was FUN!

This is the first set of drawings I used during my final presentation for the Buddhist complex project I worked on in studio in the spring of 2012 at the University of Oregon. It was leaps and bounds of improvement beyond the work that I produced in all previous terms. Ideas explored included fiscal sustainability [let’s grow and sell endangered species of butterflies and flowers!], wetland and species restoration, big ROOF, infill, experiential cyclicality, building and site as measuring device, digilog media techniques, plaster, watercolor, Rhino + grasshopper and others. It was a true term of exploration and questioning of what ‘space’ is, how it’s shaped, and, in particular, can I think of sustainable building as something that primarily ignores building science and looks extensively at human experience, social buy-in, and flexibility as primary drivers of sustainability? Can someone help me define this word and approach?

These are the second set of presentation drawings that I pinned up. Part of the presentation discussion revolved around the relevance of pinning up “beautiful drawings with the expectation that no one would ask questions about the design intent behind the drawing because of it’s aesthetic quality. You students pin up work and think that just because it’s pretty, no one will question it.”

I have a few responses. As students, we must consider the value of our work in our portfolios for purely pragmatic reasons. Why shouldn’t we use drawings that are of the highest quality in our presentations? Eye candy is NECESSARY not only for pulling someone from across the room to look at your work but also for making someone stop when they’re taking two seconds to flip through your portfolio to make a hiring decision.

However, the beauty of the drawing can not exist outside of it’s use as architecturally or design-ily informative. It’s art for art’s sake if it’s just eye candy and it’s lifeless and boring and UNMARKETABLE if it’s not beautiful. It MUST be both. 

"Thingness at two scales."

a mapping exercise done on 2012.06.22. i struggled for a while figuring out what i should draw there. the place is overwhelming. something about it’s scale fooled me into forgetting about it’s very obvious axial arrangement. perhaps it’s the break of the axis in the southeast corner that leads up to the organ fountain [which we were lucky enough to hear play]. i still lack confidence in representational drawing out in the field which is one of the reasons for me to be here in Rome, but the mapping was an interesting experiment in mixing representational and diagrammatic drawing. and it was FUN!

a mapping exercise done on 2012.06.22. i struggled for a while figuring out what i should draw there. the place is overwhelming. something about it’s scale fooled me into forgetting about it’s very obvious axial arrangement. perhaps it’s the break of the axis in the southeast corner that leads up to the organ fountain [which we were lucky enough to hear play]. i still lack confidence in representational drawing out in the field which is one of the reasons for me to be here in Rome, but the mapping was an interesting experiment in mixing representational and diagrammatic drawing. and it was FUN!

This is the first set of drawings I used during my final presentation for the Buddhist complex project I worked on in studio in the spring of 2012 at the University of Oregon. It was leaps and bounds of improvement beyond the work that I produced in all previous terms. Ideas explored included fiscal sustainability [let’s grow and sell endangered species of butterflies and flowers!], wetland and species restoration, big ROOF, infill, experiential cyclicality, building and site as measuring device, digilog media techniques, plaster, watercolor, Rhino + grasshopper and others. It was a true term of exploration and questioning of what ‘space’ is, how it’s shaped, and, in particular, can I think of sustainable building as something that primarily ignores building science and looks extensively at human experience, social buy-in, and flexibility as primary drivers of sustainability? Can someone help me define this word and approach?

These are the second set of presentation drawings that I pinned up. Part of the presentation discussion revolved around the relevance of pinning up “beautiful drawings with the expectation that no one would ask questions about the design intent behind the drawing because of it’s aesthetic quality. You students pin up work and think that just because it’s pretty, no one will question it.”

I have a few responses. As students, we must consider the value of our work in our portfolios for purely pragmatic reasons. Why shouldn’t we use drawings that are of the highest quality in our presentations? Eye candy is NECESSARY not only for pulling someone from across the room to look at your work but also for making someone stop when they’re taking two seconds to flip through your portfolio to make a hiring decision.

However, the beauty of the drawing can not exist outside of it’s use as architecturally or design-ily informative. It’s art for art’s sake if it’s just eye candy and it’s lifeless and boring and UNMARKETABLE if it’s not beautiful. It MUST be both. 

"Thingness at two scales."

About:

Some of my work[play] and, generally speaking, an attempt to make cohesive a trajectory.