A R C H I T E C T U R E R E P R E S E N TAT I O N
NEWCASTLE UNIVERSITY / ARC1016 / 160010882 / JANUARY 2017
C O N T E N T S PAGE 3
INTRODUCTION
PAGE 4 - 5 TASK 1
CITY DRAWING A1 CHARCOAL DRAWING OF THE RIVER GOD SCULPTURE
PAGE 6 - 9 TASK 2
LIFE DRAWING SKETCHES OF A MALE HUMAN MODEL
PAGE 10 - 13 TASK 3
HOLLOW OBJECT ORTHOGRAPHIC DRAWINGS OF A MINERAL WATER BOTTLE
PAGE 14 - 17 TASK 4
MEASURED DRAWING OROGRAPHIC DRAWINGS OF THE FINE ARTS BUILDING
PAGE 18 - 21 TASK 5
PHOTOGRAPHY CAPTURING THE ESSENCE OF THE FINE ARTS BUILDING
PAGE 22 - 25 TASK 6
OBSERVATIONAL DRAWINGS CONVEYING VISUAL AND EMOTIONAL OBSERVATIONS
THIS BOOKLET IS A COLLECTION OF ALL SIX TASKS OF THE ARCHITECTURE REPRESENTATION COURSE (ARC1016) AND AIMS TO DISPL AY THE PROGRESS I HAVE MADE AS AN ARCHITECTURE STUDENT.
C I T Y
D R A W I N G
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1
TA S K : C I T Y D R AW I N G
CIVIC CENTRE’S RIVER GOD For this City Drawing task, we went to our assigned sites and did an A1 drawing. This was my first time drawing with charcoal as well as handling a large drawing. Through this task, I learnt a charcoal drawing technique that I used in my final drawing- “Draw what you see, not what you think you see”. Rather than drawing the outlines of the object (as I did on my draft), I focused on potraying the light and shadows.
On the left: The first draft On the right: The final A1 drawing
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L I F E
D R A W I N G
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2
TA S K : L I F E D R AW I N G
PRACTICE SKETCHES This guided life drawing session helped me attain a better understanding of the human proportions through sketching a reiteration of the human model in differing positions and time limits. With every sketch, I learnt to recognise where light and shadow fell on the body and potrayed that in my sketches. It was also interesting to see how I managed to develop a technique in drawing the human body proportionately by the end of the session.
From left to right: Three minutes per postion; Ten minutes per position; Thirty minutes sketching.
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TA S K : L I F E D R AW I N G
THE FINAL SKETCH This sketch was done within the one hour time frame that was allocated for the final sketch. Because the model was positioned parallel to my line of view as well as had the top of his head facing towards me, I had to tackle drawing the human proportions differently. However, as the sketch prior to this was coincidentally in a similar position, I could identify the mistakes that I’ve made before and fix it in this sketch. I also attempted to use a different colouring technique by using white pastel to show where light is reflected more significantly on the model and the chair.
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TA S K : L I F E D R AW I N G
On the right: The model lays down on a small pillow and intertwines himself with the chair.
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H O
O B
L J
L E
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O C
W T
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TASK: HOLLOW OBJECT
HOLLOW OBJECT Through this task, I familiarised myself with the different types of orthographic drawings such as the plan, section and elevation as well as learnt the significance of line weights in technical drawing. This task includes a practice drawing of a simple coffee cup (as shown on the right), before drawing another hollow object of our own choosing. I chose to draw a mineral water bottle as it had an interesting mix of transparent and opaque surfaces, allowing me to practice presenting textures and shadows through drawing. A few observational drawings were done before the final technical drawing to familiarise myself with the shape and texture of the bottle.
On the right: Simple technical drawing of a coffe cup done in 1/1 scale.
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TASK: HOLLOW OBJECT
Above: Observational drawings done prior to final technical drawing
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TASK: HOLLOW OBJECT
C
D
KEY
A
B
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A: Section of bottle (Scale 1/1) B: Elevation of bottle (Scale 1/1) C: Plan of bottle (Scale 1/1) D Roof plan of bottle (Scale 1/1)
M D
E R
A S U R E A W I N
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D G
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TA S K : M E A S U R E D D R AW I N G
MEASURED DRAWING This task follows on from Task 2 - Hollow Object. It requires accurate note-taking and recording of numerical and visual data of the ground floor of the Fine Arts Building to create accurate technical drawings of the site in section, elevation, plan and an individually chosen detail in 1 to 100 scale. The first step to creating this would be to visit the site and measure the area accordingly. We worked in 3 groups, each collecting measureaments for either the section, plan or elevation. These measurements are then consolidated and shared among the groups. Once everyone had the required information to draw the technical drawings, we could start drafting. However, after further examination of the data, I realised that some of the measurements do not add up and hence, had to revisit the site to measure again. Missing annotations were also collected. The first few drafts also had mistakes such as different line weights, wrong layout arrangement or smudged papers. Overall, this process of measuring and reiterating technical drawings taught me to not only be detailed and sharp with my work, but also how to use a drawing board and set square skillfully. These are all skills that are required by an architect to master.
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TA S K : M E A S U R E D D R AW I N G
Above: Measurements for section jotted down on sketchbook Tracing papers included: Original copy of measurements for section and elevation
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P H O T O G R A P H Y
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5
TASK: PHOTOGRAPHY
This image was chosen as one of the three final photographs as it successfully conveys the movement outside of the Fine Arts Building. The line of light at the forefront of the picture indicates the movement of people and transport across the alley. The three-lined red and white lights is done by a moving bicycle. The other lines of light at the back of the picture shows the movement of people in and out of the building. This shot was taken on a tripod and with a longer shutter speed to allow more light to enter the camera and produce the line effect. P A G E 19
TASK: PHOTOGRAPHY
This image of the ceiling at the Fine Arts Building site was chosen as one of the final three photographs because it encapsulates the rigid ambience of a concrete building through its grid-like ceiling design. This picture also focuses on a different perspective to the Fine Art Building that is not usually noticed. Also, these brick holes on the ceiling may function as a wind and sound buffer by not allowing sound to reflect of the ceiling easily and absorbing the wind.
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TASK: PHOTOGRAPHY
This is a photograph of people moving around the site - the ground floor of the Fine Arts Building. It is taken specifically to demonstrate circulation and the fast-paced movement in the space. This shot was taken with a tripod on a long shutter speed to allow movement to be seen on the image.
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O B S E R V A T I O N A L D R A W I N G
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TA S K : O B S E R VAT I O N A L D R AW I N G
HIDDEN VIEWS This charcoal drawing is a quick sketch of the view up when stood at the side of the Fine Art Building’s concrete drum. This perspective of the building goes unnoticed every day as students and construction workers walk by without giving their surroundings a second glance. This view quickly became my favourite part of the building as it gives a more positive addition to the dull, dirty and rigid site. This drawing was done with a new techinque taught to me by the tutor at hand, which is to colour the whole page with charcoal before using a putty eraser to smudge and erase the brighter parts of the structure. The darker aread of the structure is left without smudging.
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TA S K : O B S E R VAT I O N A L D R AW I N G
CLAUSTROPHOBIA After numerous visits to the same site, the Fine Arts Building, the reasons for my negative feelings towards the site dawned on me. It was becasue the site made me feel a little claustrophobic through its enclosed space both outside and inside the building. The low ceilings in addition to the tight, fast-paced movement in the transitional area at the goround floor further emphasizes the narrowness of the room. Outside, the entire entrance is hidden under the shade of the beam on the third storey of the building. Contributing to the dysphoria alongside this is the noise from the construction site down the alley and the workshop opposite the entrance. Railings and huge rubbish bins line the alley. All these visual and emotional observations are then combined to create the collage on the right. The crisscross lines drawn on the corners of the drawing is done using chipped plaster found on site.
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T H E
E N D
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