By Kendra Schank Smith
Publish yr note: First released in 2008
Concepts from architects' minds evolve via sketches and as a method of transference are conveyed to the completed development. This publication compares characteristics of sketches to bare specific techniques to the tools of pondering during which all architects have interaction. It presents new perception into the connection among architectural sketches and the method of artistic manipulation.
Sketches include a considering mechanism, and during the traits of ambiguity, quickness and alter, they begin a discussion for architects. As a medium to facilitate conversation, recording, discovery and overview, their pertinence lies of their skill to express either the suitable and the obscure.
Exploring 4 similar theoretical ways, play, memory-imagination-fantasy, cartoon and the ugly, the booklet exhibits how imprecision stimulates mind's eye to conceive new kinds within the discussion of architectural sketches.
Read or Download Architects' Sketches: Dialog and Design PDF
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Concepts from architects' minds evolve via sketches and as a method of transference are conveyed to the completed construction. This booklet compares features of sketches to bare exact methods to the tools of pondering during which all architects interact. It presents new perception into the connection among architectural sketches and the method of inventive manipulation.
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Extra resources for Architects' Sketches: Dialog and Design
Blakley Law Library, Arizona State University; the Turner Village at the Candler School of Theology at Emory University; Berkeley Music Library and most recently a United States Courthouse in Austin, Texas, to be completed in 2008. This series of sketches describes elevations for the Jean Gray Hargrove Music Library. A practice that employs digital technology for conceptual design besides production, this sketch shows tremendous energy and articulation. Each treated slightly differently, the elevations have been outlined in ink and shades of blue and green have been applied.
Representation-of ’ is self-representation, where a player is acting a part. The player could be a member of a team or an actor in a theatrical production. ‘Representation-for’ overlaps this but takes on symbolic connotations. Gregory Bateson describes play for cultural representation: ‘the actions of “play” are related to, or denote, other actions of “not play”. We, therefore, meet in play 31 with an instance of signals standing for other events, and it appears, therefore, that the evolution of play may have been an important step in the evolution of communication’ (Bateson, 1972: 181).
Architecture and the Conﬂict of Representation. AA Files, 8, pp. 21–38. Vesely, D. (1987). Architecture and the Poetics of Representation. Daidalos, 25, pp. 24–36. A. and Chaplin, S. (1977). Visual Culture. Manchester University Press. Wollheim, R. (1971). Art and Its Objects. Harper and Row. Wollheim, R. (1974). On Art and the Mind. Harvard University Press. 25 CHAPTER 2 PLAY, QUICKNESS AND FESTINA LENTE Play is far from being only a child’s game. James Hans believes that play is central to living, and he writes of inorganic, organic, and human play.
Architects' Sketches: Dialog and Design by Kendra Schank Smith