Former Director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London, author of numerous books and articles including The Story of Art and Art and Illusion, Ernst Gombrich was arguably the most important art historian of the second half of the 20th century. In this lecture he discusses representations of space in western art.
NB: Occasional sound distortions
Lecture date: 2008-11-05
Peter Cook vehemently believes that there is a CULTURE OF ARCHITECTURE ITSELF that is neglected by academies since many teachers of architecture dont have much taste for buildings. This HOK-sponsored series of lectures are intended to redress the balance.
Peter Cook is joint Professor of Architecture of the Royal Academy of Arts and was Chairman of the Bartlett School UCL from 1990 to 2005. He taught at the AA from 1964 to 1989 and was Chair of Architecture at the Staedelschule Frankfurt from 1983 to 1990. He was a founder of Archigram and together with Colin Fournier designed the Kunsthaus in Graz. He was awarded both the Royal Gold Medal of the RIBA (as member of Archigram) and the RIBA Annie Spink Medal for teaching in 2002. He is currently building in Spain and Italy with his studio: CRAB.
Lecture date: 1997-11-03
Architects make sketches - or so we are told. Our discourse endlessly circles around a few twitchy lines. Seemingly fragile drawings turn out to be extraordinarily resilient and infinitely strange. Using the work of Enric Miralles as a starting point, Mark Wigley rethinks the role of the sketch in the electronic age.
Wrigley is the author of The Architecture of Deconstruction: Derridas Haunt; White Walls, Designer Dresses: The Fashioning of Modern Architecture; and Constants New Babylon. In 1988 he co-curated - with Philip Johnson - the influential Deconstructivist Architecture exhibition at the Museum of Modern Art in New York. From 1987 to 1999 he taught at Princeton University, where he became director of Graduate Studies in 1997. In 2003 he succeeded Bernard Tschumi as Dean of Columbia Universitys Graduate School of Architecture, Planning and Preservation.
Lecture date : 2017-05-08
In a school where your project is experienced, determined and assessed through presentation, we often fail to talk about this as the ultimate tool of the architect. Architects are communicators - translating ideas through various media and coordinating between different teams of specialists in order to transform a project into a reality. In this evening discussion, tutors from across the school will come together to discuss the role of presentation within the AA as well as in the profession as a whole, and how the multiple ways to perform a project could be celebrated rather than standardised.
Presenting tutors include: Monia De Marchi, Ryan Dillon, Maria Fedorchenko, Mark Cousins, Sylvie Taher & Mark Morris.
All tutors will start the evening by presenting the portfolio Planetary Architecture Two by Zaha Hadid to showcase the different ways to present a single architectural project.
AA XX 100 aims to not only celebrate the contribution AA women have made in the last 100 years, but also to serve as a catalyst for a wider discussion on the issues facing architects today. AA XX 100 is a multimedia project of exhibitions, lectures, seminars, a website, international conference and publications, including a collection of historical and critical writing about AA women.
Past as Prologue was a symposium held in November 2014 in honor of Michael Graves on the occasion of his fiftieth year in practice. Organized by The Architectural League and hosted by Parsons The New School for Design, the day brought together 14 architects, designers, educators, writers, and others to celebrate Graves’ remarkable and distinctive body of work.
In presentations by architect Steven Holl, architect and artist Mary-Ann Ray, and writer and historian Nicholas Olsberg, the role of hand drawing is brought into focus. Holl shares the origination and development of many of his recent works through the drawings and watercolors—his “thought process”—that he makes for each project. Ray, a former student of Graves’, details how drawing acts within her own analytical processes and creative thinking, including through her field work completing measurements and photo documentation of Hadrian’s Villa. Olsberg uses a series of historical examples to describe the varied practices and attitudes of architects toward drawing, including Graves’ own process of discovery through sketching. The three come together to discuss drawing in contemporary education and practice, including what is lost in digital design and representation.
For more, visit archleague.org/graves.
Drew Paul Bell (of http://www.DrewPaulBell.com) explains the difference between design drawing and technical drawings:
Design drawings are for progressing designs (sketches, gesture drawings, etc.) and technical drawings are for communicating a design with detail. However, those technical drawings can be used to help develop you design and identify/workout details.
Part 2 in a multi-part video series where I dissect the design process for a small studio space.
In this video I discuss site diagrams, zoning, and the process I use to determine the overall size of the project.
Please watch: "Inside My Sketchbook + An Architect's Sketching Tools"
Interview with the American artist Julie Mehretu about how her perspective is the result of a "very important shift" in her life which occurred when her family moved to the US from Ethiopia. Mehretu fuses forms in order to create an 'in-between place', also for herself personally, she explains.
In this interview New York based Ethiopian artist Julie Mehretu (b.1970) talks about how she uses abstract art to create a psychological space for herself. Mehretu explains how her perspective and interest is informed by this "very important shift" which occurred when her family moved to the US right after the Ethiopian revolution. Her paintings are in some ways an attempt at making sense of herself as situated in a kind of in-between psychological space: "There's this type of spacial shift that has occurred, and there's a connection, a kind of psychological space, making sense of a place."
Julie Mehretu explains that she likes working with abstraction because it is "an in-between place". New forms are created through the intermingling of space and drawing, social and political elements and controlled moments combined with the intuitive. The paintings have many levels of reading, feeling, engaging, and they have no beginning nor end, Mehretu says: "You can see through everything."
Julie Mehretu is known for her densely-layered abstract paintings and prints. Her paintings are built up through layers of acrylic paint on canvas, overlaid with mark-making using pencil, pen, ink and thick streams of paint. Her canvases overlay different architectural features.
Julie Mehretu was interviewed by Jesper Bundgaard at Marian Goodman Gallery, New York 2013.
Camera and editing: Per Henriksen
Produced by Louisiana Channel
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2013.
Meet more artists at channel.louisiana.dk
Louisiana Channel is a non-profit video channel for the Internet launched by the Louisiana Museum of Modern Art in November 2012. Each week Louisiana Channel will publish videos about and with artists in visual art, literature, architcture, design etc.
Supported by Nordea-fonden
Learn design with Doug Patt at his live virtual webcam studio. http://howtoarchitect.com/designstudio
Hi. Im Doug Patt and this is How to draw with lead. Today Ill be creating an abstract pencil rendering of machine parts. Ill be using a .5mm Pentel mechanical pencil with HB leads. You can also use a slightly larger diameter lead with a .7mm pencil, but I like the thinner line. The other type of pencil you may choose is a lead holder drafting pencil. These are a little trickier because youve got to keep them sharpened. Ill also be using 4 different lead pencils. These are all Staedtler Mars Lumograph pencils. Theres the 2h the lightest and hardest I will be using, an HB which is the typical hardness on most pencils, and a 2b and 4b both progressively softer and darker. Ill be using a small sized adjustable triangle, a ruler and drafting tape. I also have some templates I really like to use as well as a compass, an electric eraser and metal eraser shield. So, Ive cut out a small rectangular piece of Strathmore 400 series drawing paper. This paper is a little thin for my taste, but it has a nice texture and its acid free so it should have a nice lifespan. Im a classically trained artist so I like to use the golden section and the root rectangles as the drawn armature on my page. I do this in to help me organize and develop my drawing but thats for another episode. The piece of paper is the same proportion as a rootphi rectangle. Now, I love machines and I really enjoy drawing abstractions of them. So I chose these three machines I saw at our local fair this summer. Im going to take visual cues from the various parts of the machines and redraw them on the page organizing them relative to the armature of my rootphi rectangle. Im choosing the machine parts and their location on the page in a subjective manner keeping in mind that the drawing should have a dominant direction in order to make the composition more dynamic. The drawing is made by using the .5mm mechanical pencil to lightly draw out the basic forms. Then I simply add line weight and detail with my Staedtler HB pencil. I like to think about these compositions as sections through machinery like an engine. For this reason Ill typically give the exterior forms a kind of casing that appears in poche. Now, I like to render my drawings by constantly adding layers. These layers are made by a series of hatched horizontal rows. The row dimension varies depending upon the size of the rendering but its typically about 1/2. Once the drawing has been filled with rows of rendering I will spin the drawing 90º and repeat. This process is repeated over and over again until the proper value for a specific location is achieved. The more layers of rendering you do the deeper the shape becomes and the further away it appears. The object of this drawing is to create the appearance of a 3 dimensional abstract object. You can also add shade and shadow to enhance the appearance of depth by making a series of lines against your straight edge or triangle. Finally, I like to scan the drawing in any number of graphics programs and add more depth and better contrast. So there you have it. An abstract rendering of farm equipment machinery parts and few tips on drawing with lead. So, thanks for checking out How to draw with lead. See you next time.