#analytical drawing

[creativecontrolroom]

[artofyukiimomo]

No hands, mom! Emma Hedges

[artofyukiimomo]

Blind contours by Emma Hedges

[tsa17nolli]

A N A L Y T I C A L   D R A W I N G

Sequence of Stockholm City Hall’s primary public spaces: Blue Hall, Council Chambers, Golden Hall, Hall of Mirrors, Bell Tower, Arcade, and Courtyard. 

Sketch illustrating the dynamic spatial experience, one of interlocking volumes around a central courtyard. By abstracting the spaces as a volumetric axonometric, the sectional quality of the spaces — tall, narrow, wide — can be viewed in concert with the plan and ultimately convey a compelling approach to circulation and sequence through the building.

https://www.architects.org/architectureboston/articles/issue-sit-look-sketch

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[kimsartfolio]

[fall16ikstudio]

ANALYTICAL DRAWING - layering of a facade, from the Pinterest board “100B Analytical Drawings”

https://www.pinterest.com/jjjackieyang/100b-analytical-drawings/

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[lplstudio]

.........and two more from the RISDI analytical drawing course:

http://architecture.risd.edu/work-in-progress/architectural-analysis-indirect-drawing/

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[lplstudio]

.....more from the RISDI analytical drawing course:

“Drawing is a space for resolution of form. Drawing is a space for communication of information. Drawing is a space for inquiry into orders. Drawing is a space for generation of knowledge. 

We recognize the currency of the drawing is THE LINE. We’re enthralled by the capacity of the residual graphite trail on paper to simultaneously cleave, enclose and form as it links our eye to the world. We find equal value in the constructed digital line with its almost enigmatic demand to be modeled–if only through the definition of two points–before it can be drawn. Regardless of medium, drawing is the space of architecture....... 

Each student is assigned a significant work of built architecture. The prompt is straightforward enough: draw the building so that all parts and all spaces are legible. Then model the building and draw it again. Then model, again. At this moment in the semester, the work has reached a representational limit. Already the hand, eye, and mind of each student author is convolved with the facts of each building. But from this moment onward, the operations will be actively transformative. Early decisions regarding visual language and geometric topology influence these operations such that even as the work enters deeper into the territory of fiction, its basis is in a deeply researched truth.”

–Carl Lostritto, Core Drawing Sequence Coordinator 2014-2015

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