freehand drawings '17

I D I L

2017

freehand drawing in architecture

blind contour Blind contour is a great way to start drawing open-mindedly.

This method lets your hand freer and more dependent at the same time. Because drawing without looking the paper makes you give more attention to the act of drawing. Limiting the drawing experience is a brainstorming or a brainteaser. In the end, it was fun to see the result of the communication between your hand and your brain.

taskisla/taksim

a tell-the-tail-detail The object/image that filtered by the narrator changes the “being real� situation of the image. Reality and Object relation is made over again. This situation makes this work collective.

taskisla/taksim

When the narrator (Taylan) describes the visual thing as a verbal way, he makes the direct connection between drawing and observing to an indirect one.This circumlocution transfers the produced image to another context.Circumlocution of the relationship between object/detail and the drawer causes a loss of scale perception.

my imperfect hand Maybe we are being unfair to our body by thinking that our organs become blunt because of not using them. We all have a comfort zone while drawing, a position that we used to... This exercise provides you to step out of this comfort zone. And this experience won’t be scary.

In my opinion, when you put yourself in a disabled position you feel like your mistakes are more welcome. Thus this kind of drawing process is more joyful than the normal way.

yapi kredi binası/beyoglu

Drawing the Akdeniz Statue with this technique is also very helpful to feel secure about our imperfect drawing tools/hands. Because of the shaky form of the statue, it was interesting to use a method which causes to shake our pencils.

In the second work, I use this shaky effect on sharp spaces. aThe perception of the space in YapĹ Kredi building is very linear, sharp and graphical but the device causes the opposite. And additionally, it was interesting that unfold a space with using the perspective

surface dwellers The surface of a drawing is another dimension of the work. It is not a blank page all the time. Even if it is plain, white and smooth surface in the beggining it can affects from the surrounding an the surface fits the context uninventionally. The surface becomes dirty, creases, be stained, rends... Drawing in the middle of the city, in sishane causes to make the work more open to the external effects.

The other thing is collectivitiy of the work. The perception is different becuse of the location of the drawers. Scale is also variable. sometimes the drawers make an agreement about the scale, sometimes not...

sishane

taking a line for a walk The topography and the organic plan of Istanbul provide this variety of sensing the environment. Any path in Istanbul may look like linear and presumable but it has layers and conflictions. In Ayvansaray, the city wall generates continuousness with interruptions in itself. But still, owing to the city wall, it is possible to aware of the place that you stand.

ayvansaray

In Ayvansaray, the built environment and the social environment intertwine. This drawing aims to emphasize the relation between daily life and architectural elements. The scale of built environment changes by the drawer’s place it also causes the conflictions in the drawing.

In the beginning of the drawing frequency of lines on the path shows the slope of topography then the arrows aim to show that information. The thickness of lines aims to express of passing speed.

For me the most interesting part is observing the enviorment. Hearing the sounds of hawkers, talking with the lunatics of the neighborhood... I can't stop taking notes of these lines.

reflect me !

Reflection of a move creates another move in the drawing surface. These two texture combines and compose a total form.

In this exercise drawing tools manipualted than the drawing builds itself with the oppurtunity of reflection the notches.

santralistanbul

In this exercise, I choose to draw a tree with a loud and clear texture on. I used H and 8b pencils and I stick them each other.

In this technique when you draw a line or a notch the other pencil follows and creates another uncontrollable shape. I think this effect suits my drawing very well because of the texture of tree has this lamellar view.

It was hard to force the other pencil to leave a mark on paper, sometimes it didn’t.

In the second try, I choose a corner of an industrial building. I try to follow the rusty stains on the surface.

This time I use my pencils more separately than my first try.

Using the pencils this way, creates a pathological feeling in the drawing. The drawing does not look like the corner itself, but it is possible to feel rustiness in another communication type.

down below - up above The technique and tectonics of a painting may have parallels with each other. It can be said that the perception of a space can be interpreted by the act of the eye in a vertical axe. In paintings, the image is created by overlapping colours and paints. Thus, these layers and colours build their own form and narrative.

galata tower

The first drawing was painted looking down below to Galata Tower.

The method starts from the upper parts of the view and then it comes down. Thanks to the characteristic of watercolour, colours are stratified. Thus the layers of the view are emphasized by this effect.

The tectonics of the Galata Tower is readable while looking up from down. The watercolor effect on this painting is upside down.

Drawing the tower by rotating the paper causes the watercolor to flow to overhead.

fold Representing the layers of the space which is repetetive by repeating the folding is an effecting way. In this exercise, the limits and the comntinousity of the space is reproduced by repeating the folding act.

I folded the paper according to rhythmic columns. While deciding the folding points, I considered the perspective view of the architectural elements to the place which I’m standing. For instance, I folded the paper with a big gap when the column is near and it looks bigger than the others.

Thus the parts that folded inside have different thicknesses.

On the other hand, I try to catch the continuous and vertical lines. When I folded an edge, it stands for a dominant and continuous line of the space. That is to say, the edges act like a line while the paper standing folded. Even though the columns sometimes hide in the floors they are actually and statically continuous elements. I tried to emphasize this tectonic relation by abstracting. imc / unkapanÄą

zoom in-zoom out Scale changes by the technique which is used in this work.

Thus, a connection between technique and scale is worked up. Zooming in and out is recreated not only in our perception but also with our body different from the digital operations.

fener

It is harder to control a pencil when we holding it from farther. It is only possible to draw without details. But when a pencil is held from closer, the body is also closer to paper thus it is possible to draw more detailed.

As a result, in my drawing experience, I can only draw the perspective perception of the space in the first round. In the second one, I can draw the building elements. At last, in the third round, i was able to add unique spatial and architectural details.

end-to-end Sometimes a drawing team/work can be concluded collective even the process is more individual.

The first drawer hides the work that he did because there shouldn’t be cheating but giving clues. Sometimes it is aimed that manipulating and speculating the clues, sometimes it is aimed that come up to the previous drawing and place.

This drawing is one of the works that is consistent unexpectedly.

karaköy

seren

veli

mert

idil

wire Büyük Valide Han is a place that repetitive architectural elements are dominant. In the afternoon these repetitive relations can experience with the help of the shadows. The basic geometric forms getting layers and complexity by the reflections and shadows. The atrium in the middle of the Büyük Valide Han also affects the view with the extra arches to the eye level.

Because the drawing technique is 3d, drawer tends to think the third dimension. The thickness and the strength of the material has a determining role in the model. It is hard to control every point in the arch and make it stable. At this point, because of the material, a massive building is emphasized as a frail one.

eminönu

In the second one corridor of the Han is modelled and this time the repetitiveness of the arches is vertical and inside of the corridor. The different thicknesses of the wire represent shadows and the elements of the building.

In the first work, it is modelled that the view while looking from a corridor to the opposite corridor. The arches and the shadows overlapped each other and because of the material additional wired are used in the model to get the durableness.Â

remember / final work what do you rememeber ? how do you remember ?

taskisla