hybrid drawings sketches
freehand drawings geometry | perspective exercises
selected drawings
sketches
dRaw
per gram
drawing intentions
thea mihu sketchbook
1
contact: thea.mihu@gmail.com
online portfolio: https://issuu.com/thea.mihu https://www.linkedin.com/in/thea-mihu/
An essential aspect of this booklet is the importance of freehand drawing as a first step towards an architectural impulse. The drawings are not meant to be pretty or alined with any given architectural drawing standard, but rather expressive and a visual carrier of thvat first idea. I have often heared from fellow collegues and students that their design methodology is free from any analogue technique. While embrassing the power of digital innovation in the field of architecture as an instrument for a more effective outcome, this booklet is set to show a variety of drawing speculations, often unfinished and raw, in order to emphasize not precision - as computer masters do, but rather investigations of the build and unbuild environment as opposed to illustrations.
Introduction
Drawings and tracings are like the hands of the blind touching the surfaces of the face in order to understand the sense of volume, depth and penetration. 3
drawing editor ... in the digital age architectural sketches gain a new value. Often they serve as proof of creative independence from the machine and are stylized accordingly. ...im Zeitalter des Computers gewinnen architektonische Skizzen einen neuen Stellenwert. Häufig diesen sie als Beweis der schÜpferischen Unabhängigkeit von der Maschine und werden dementsprechend stilisiert.
2
1 - Pla-Narbona, Joseph; artist 2 - Nerdinger, Winfried; Dinner for Architects, 2003 3 - Hejduk, John, Thoughts of an Architect, 1986
pages
contents A learning process 2008 - 2018
7
Introduction the whole spirit, the whole essence of the project, is in the sketch.
10 -117
1. Freehand drawings | Sketches | Geometry Exercise 1.1 Personal Sketches 1.2 Drawing by memory 1.3 Drawing within a time limit 1.4 Studio related Sketches 1.5 Axonometry | Perspective Calculation | Geometry Exercise
118 - 133
2. Hybrid Drawings - Rendering on the move Method : Analog and Digital
freehand drawings digital software
used software: Adobe Creative Suite, iPhone Applications Awa r d s: Ar c h Da ily Sel ecti on for B est D raw i ng of the Year 2017
132 - 147
3. Digital Drawings Used Software: Allplan Vectorworks, Adobe Photoshop, Adobe Illustrator
studio related renderings and diagramms
Univ er s it y of St u t t g a r t 2 0 1 3 - 2 0 1 8
10
11
Drawings are expressions of one’s striving to reach the spirit of architecture. Kahn, Louis
12
v wi
1. Freehand drawings | Sketches | Geometry Exercise 1.1 Personal Sketches Drawing by memory Drawing within a time limit 1.2 Studio related Sketches 1.3 Axonometry | Perspective Calculation | Geometry Exercise
13
above
personal sketch - MAK Museum, The Happy Show by S. Sagmeister Vienna, 2016
14
above
personal sketch - MAK Museum, The Happy Show by S. Sagmeister Vienna, 2016
15
on the right
Studio Sketch SI - University Stuttgart Sarajevo HighRise, 2013
16
above
Studio Sketch SI - University Stuttgart NeckarCity, 2015
17
below
Studies on Kerez, C.; One Wall House Stuttgart, 2013
18
19
above
personal sketch Vama Veche, 2011 drawing by memory
20
above
personal sketch Hamburg, 2017 drawing by memory
21
Drawing a building is a way of remembering it properly. To draw you have to look very hard and I think it is in the looking itself that the building is impressed upon the mind. Often I measure it and make a plan, putting the dimensions on the drawing, because I know from experience that only by doing that can I understand what I’m looking at.
Caroline Mauduit, An Architect in Italy
22
23
above
personal sketch Venice, 2016, Teatro del Mondo, arh. Aldo Rossi
24
above
personal sketch Stuttgart, 2014 urbanism project
25
below
identity Vama Veche, 2011
26
below
identity Vama Veche, 2011
27
below
Teatro del Mondo, arh. Aldo Rossi Venice, 2016 drawing by memory
28
29
above
raw
Vienna, 2015
30
above
raw
Vienna, 2015
31
32
above
Auditorium UAUIM Bucharest, 2010 - aquarell on watercolour paper
33
34
below
UAUIM - napkin Sketch Bucharest, 2010 - aquarell on paper napkin
35
36
above
proportion studies Vitra Design Vienna, 2015 - pencil on paper
37
38
above
workshop sketches architecture highlights proportion studies Stuttgart, 2013 - pencil on paper
39
40
41
42
v wi
1. Freehand drawings | Sketches | Geometry Exercise 1.1 Personal Sketches Drawing by memory Drawing within a time limit 1.2 Studio related Sketches 1.3 Axonometry | Perspective Calculation | Geometry Exercise
43
44
above
UAUIM freehand drawings plans and sections Bucharest, 2010 - 2012
45
46
The value of uncompleted things is very strong... If the spirit is there and can be recorded, what is lost? The drawing is important, the incomplete scheme is important, if it has a central gravitational force which makes the arrangement not just an arrangement but something which gives a richness to the associations which are lost. Recording of that which has not been done must be made much of.
Louis Kahn, 1973
47
on the right
netWORK - ILEK Studio Stuttgart, 2018 - liner on paper
48
49
50
below and on the left
Kontekst Zakopane Stuttgart, 2016 - pencil on paper
51
52
53
54
on the left, above
IRGE- House of Daniel Craig Design Studio Stuttgart, 2014 - pencil on paper
on the left
120h architecture student competition Vienna, 2015 - pencil on paper
55
56
above
IWE-Designing Residential Building Stuttgart, 2014 - pencil and liner on paper
57
58
on the left
Kontekst Zakopane, ILEK-Studio Stuttgart, 2016 - pencil and liner on paper
59
60
above
IRGE - House of Daniel Craig Studying Zumthor, Peter Stuttgart, 2013 - acuarel on paper | pastel | pencil
61
62
above
IRGE - House of Daniel Craig Studying Zumthor, Peter Stuttgart, 2013 - pencil on paper
63
above
IRGE - House of Daniel Craig Studying Zumthor, Peter Stuttgart, 2013 - acuarel on paper | pastel | pencil
64
above
IRGE - House of Daniel Craig Studying Zumthor, Peter Stuttgart, 2013 - acuarel on paper | pastel | pencil
65
above and on the right
IRGE - House of Daniel Craig concept sketches Stuttgart, 2013 - pencil on paper
66
67
above
untitled Sibiu, 1997 - coloured pencil on paper
68
above
untitled Sibiu, 1999 - coloured pencil on paper
69
on the right
8h drawing exam on a given subject Bucharest, 2010 - pastel on paper
70
71
72
73
74
v wi
1. Freehand drawings | Sketches | Geometry Exercise 1.1 Personal Sketches Drawing by memory Drawing within a time limit 1.2 Studio related Sketches 1.3 Axonometry | Perspective Calculation | Geometry Exercise
75
76
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
77
78
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
79
80
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
81
82
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
83
84
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
85
86
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
87
88
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
89
90
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
91
92
above
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
93
94
above and on the left
intense drawing course UAUIM admission exam 2010 remembering architectural landmarks Bucharest, 2008-2010
95
below
1st. semester traditional romanian building survey Bucharest, 2010
96
below
1st. semester traditional romanian building survey Bucharest, 2010
97
98
below
1st. semester traiditional romanian building survey Bucharest, 2010
99
100
on the left
intense drawing course descriptive geometry exercises Bucharest, 2009
101
above
intense drawing course collusion of geometric volumes Bucharest, 2008
102
above and below
intense drawing course collusion of geometric volumes Bucharest, 2008
103
on the left
intense drawing course axonometry of a church canopy Bucharest, 2009
on the left
intense drawing course collusion of geometric volumes Bucharest, 2010
104
on the right
intense drawing course determining 2D-shadows on a volumetric ensemble Bucharest, 2010
105
above
UAUIM perspective measurement Bucharest, 2010
106
107
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
108
109
above and below
intense drawing course traditional romanian houses Bucharest, 2008-2010
110
111
above and below
intense drawing course traditional romanian houses Bucharest, 2008-2010
112
113
above and below
intense drawing course Bucharest, 2008-2010
114
115
above and below
intense drawing course UAUIM admission exam 2010 Bucharest, 2008-2010
116
117
118
119
120
v wi
2. Hybrid Drawings - Rendering on the move Method : Analog and Digital
hand drawings digital software
used software: Adobe Creative Suite, iPhone Applications Aw ards : A r c h D a i l y S e l e c t i o n fo r Be st Dr a win g o f th e Y e a r 2 0 17
121
122
above
personal rendering Curated for ArchDaily Best Drawings of the Year 2017 on the metro, 2017
123
124
above
personal rendering on the metro, 2017
125
above
ArchDaily EasterEgg Design Competition on the metro, 2017
126
above
ArchDaily EasterEgg Design Competition on the metro, 2017
127
128
on the left
ArchDaily EasterEgg Design Competition on the metro, 2017
129
130
131
132
on the left
Architectural Review #NotopiaCampaign Design Competition 2016
133
134
135
136
v wi
3. Digital Drawings Used Software: Allplan Vectorworks, Adobe Photoshop, Adobe Illustrator
studio related renderings and diagramms
U niversit y o f Stu ttga rt 20 13 - 2018
137
138
on the left
netWORK Studio project Stuttgart, 2018
139
on the right
netWORK Studio project Stuttgart, 2018
140
141
on the right
netWORK Studio project Stuttgart, 2018
142
143
144
above
Zakopane Studio Project curated and published on the digital platform of Architectural Review Stuttgart, 2017
145
above
Kontekst Zakopane Studio project Stuttgart, 2016
146
147
on the right
joy
SIbiu, 1995
148
149
Copyright © 2018 by THEA MIHU All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher, addressed: “Attention: Permissions Coordinator,” at the address below:
thea.mihu@gmail.com
dRaw • folio
thea mihu b.sc
154