#architectural representation

[arquigraph]

80′s Revival

Steven Holl

The different forms, the use of color on facades, the transparency and the natural light through the interior suggest uniqueness in its function, this is a project designed for Autonomous Artisan’s Houses by Steven Holl in the early 1980s.

1. Autonomous Artisans' House, project, New York (Staten Island), Perspective,1980

2. Autonomous Artisans' House, project, New York (Staten Island), Perspective, 1980

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[artisanalpostcards]

Artisanal Postcard Number 1,830 Title: Redux: Architectural Delineation (1) Mailed on 3/13/18

[socks-studio]

The Mechanical-Architectural World of Stijn Jonckheere

http://socks-studio.com/2017/01/16/the-mechanical-architectural-world-of-stijn-jonckheere/

Stijn Jonckheere, a Belgian self-titled “experimental architect”, works on the brink of architecture, illustration and graphic design. His working method starts from personal interpretation of real-life locations which are then translated into detailed black and white drawings. The...

Read more on: http://socks-studio.com/2017/01/16/the-mechanical-architectural-world-of-stijn-jonckheere/

architectural representation, surrealism, technical drawings, Architecture, Art, Representation: Axonometric projection

[arquigraph]

90s Nostalgia

Neil Denari

Colorful architectural rendering like Neil Denari’s designs in early 90s are timeless.

Denari has used the city of Los Angeles as a resource and laboratory for urban and cultural experiments. The one above is a project for a Sports Hall designed in 1988.

Try to find out on your library Gyroscopic Horizons, a book written by Denari in 1999, documenting his architectural projects from 1982-1998 as well as his ideas and theories on contemporary culture, was jointly published in September 1999 by Princeton Architectural Press and Thames and Hudson.

Here’s an extract, from the book:

“This book is about ideas. Not correct ideas or owned ideas or my ideas. It is about styles, practices -minor movements. This book begins with the idea that there is no place to start. With no origin, it is not a monograph but a multigraph: a merger of textforms, onirosigns, and architecture. This is a book that begins midway. It presumes that other books have been written but not published, projects designed but not exposed. It is written by a single person passing through many plenums, engaging with others in the world, conspiring with the legions of people whose energy and ideas make the world where Godard speaks to Zapruder and the mechanical and the fluid are engaged in a lovers’ discourse.”  Neil Denari

Images: Perspective. Elevations. Cross Sections. Interior Details. Project for a Sports Hall. Los Angeles. 1988. Neil Denari. A+U 246 March 1991, pages: 21,22,23,28,29,40

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[arquigraph]

Prototype

Rogers Stirk Harbour + Partners

Pompidou Centre has become an iconic building and its guiding principles a basis for new cultural buildings in the last decades. 

Its architectural concept has been adapted in other centres and cultural institutions around the world. So you’ll find a node of cultural centres beyond France linked up on a network sharing information and culture throughout activities and exhibits interacting with the people. 

As their authors described according with the goals from the centre: “ The design expresses the belief that buildings should be able to change to allow people the freedom to adjust their environment as they need”.

here is another proposal for the  competition of Beabourg Centre +

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[arquigraph]

Fictional Landscapes

Steven Holl

1. Gymnasium-Bridge Project, New York, New York, exterior Perspective, 1977

2. Gymnasium Bridge, project, New York City, New York, Plan, site plan, exterior perspective, 1977

3. Gymnasium-Bridge, project, New York City, New York, exterior Perspective, 1977

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[arquigraph]

Organic Architecture

Francois Delarozière 

Designer, Scenographer and Director, his impresive living architectures and live productions are a total inspiration for us.

Francois Delarozière is an incredible machine designer, he created living architectures for street theathre caring all the details. Through his drawings Francois represents the insides of machines and makes their architecture visible, also get the feel about how they have been made, with cogs and pulleys.

He created with Pierre Orefice and Alexandre Chémétoff, ‘Les Machines de l’Île’, located on the Western point of Nantes Island, a cultural and touristic facilities inaugurated in 2007. 

His latest creation, “Long Ma Jing Shen”, stages a Dragon-Horse created for the 50th anniversary of Franco-Chinese diplomatic relations in Beijing in 2015.

On the video below Francois, as artistic director of the company La Machine, presents his book "Bestiaire, Machines et Ornements", published by Actes Sud, available at his shop.

image1. Le Arbre aux Hérons. Francois Delarozière. Section. Esc 1/10.

image2. Le Manege Carré Senart. Les cuatre Boeues. Francois Delarozière. Section. Esc 1/10.

image3. Le Serpent des Mers. Francois Delarozière. Section. Esc 1/10.

image4. Les Araignées Savantes. Francois Delarozière. Section. Esc 1/10. 

image5. L' Attelage des Mers. Francois Delarozière. Section. Esc 1/10.

image6. Le Dragon. Francois Delarozière. Section. Esc 1/10.

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[arquigraph]

Fictional Landscapes

Terrence Hector

These are The Walkers, somehow like machine-buildings described as living organisms. When they have died, a new, dead city has formed in their place.

A fantastic Artwork accompanied by The City Walkers, a fairy tale proposal made by Terrence Hector. Second prize on Fairy Tale 2017 Competition.

Here’s an extract…

The City Walkers  by  Terrence Hector

“ Nobody quite remembers when we began to coexist with the Walkers, but everyone remembers when they began to die.

The City had always seemed to exist since the beginning of history, its continued prosperity the consequence of a mutualist relationship between two species: the City Walkers and the Human City Dwellers that lived amongst them.

The Walkers, while they were certainly alive, existed at a tempo so much longer and slower than the human lifespan that they functioned as landscape and urban architecture as well as domesticated animal. It is believed that the first human settlers in what is now the City mistook them for geological features or monstrous abandoned termite nests upon their discovery. They dwarfed even the tallest trees, and as far as the early city-dwellers were concerned, theses creatures might as well have been part of the landscape (Plate 1). They were incomprehensibly slow, taking a step once every lunar cycle. Settlements grew beneath, and then around and behind the paths of individual beings in the herd…”

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