Basic Drawing Studio Fall 16

Page 1


_

_

1


_

2

_


_

basic design and drawing I arch2551 | fall 2016

instructor

oswald jenewein

student

vy nguyen

CAPPA

College of Architecture, Planning and Public Affairs The University of Texas at Arlington The University of Texas at Arlington

601 W. Nedderman Drive Arlington, Texas 76019 www.uta.edu/cappa

copyright 2016

_

3


acknowledgment _

“Without that element of uncertainty, that sensation of traveling into the unknown, there would be no progress.� Zara Hadid

4

_


preface Basic Design and Drawing is a foundation course in architecture. Besides introducing basics like ordering principles, proportioning systems, use of precedents and drawing techniques, the main focus for me is challenging students to think critically. In the education of an architect, it is important to think three-dimensionally and understand architecture as a holistic process engaging culture, structure, material and design. Every student, every individual, brings a story and certain skills. People are different and so is architecture. My goal is to see every student as a person and support them according to their strengths and weaknesses. Studio should be a collective experience - the social aspect of studying architecture does not just contribute to a better

learning environment, but also helps students to learn from each other. Coming from Austria to Texas, I appreciate the cultural diversity of UTA and try to encourage students to appreciate cultural variety as a great asset to both their professional and personal life. I want to thank Chloe, Diane, Luca, Maria, Mariah, Nadi, Pitak, Quyen, Ulises, Vanessa, Victoria, Vy, Wale, Youssef, and Zainab for being open to traveling into the unknown, for working late hours, and participating actively and passionately in the discourse of architecture. Remember Zaha Hadid’s words, “Without that element of uncertainty, that sensation of travelling into the unknown, there would be no progress.� Together we came far this semester. Keep on growing beyond your limits.

_

_

5


about _

vy nguyen

from Viet Nam

second year

undergraduate design

6

_


content _

08

introducing cappa

10

gestalt theory + proportioning system

14

defining space + ordering principles

24

historical precedent study

30

spatial transformation

38

conditional transformtion

42

final project

46

sketches + drawings

52

presentations + exhibitions

54

summary

_

7


_

The college of architecture, planning & public affairs interweaves the unique gifts and expertise of each person and profession to co-create urban, ecological, and social fabrics that unleash the inherent potential

of places and communities

in the DFW region and beyond.

In CAPPA, we work with our hands, heads, and hearts to change the world

one place at a time.

8

_


introducing cappa In 2015, UT Arlington’s School of Architecture and School of Urban and Public Affairs combined to form the College of Architecture, Planning and Public Affairs. The integration of the two schools strengthened the academic and research opportunities available for students and faculty at UT Arlington.

_

CAPPA offers internationally recognized degrees in architecture, interior design, and landscape architecture. Design Intelligence, a national evaluating service based in Washington, D.C., ranked the University’s landscape architecture program No. 13 in the nation for 2013. The college also hosts the Institute of Urban Studies, contributes to the Arlington Urban Design Center at Arlington City Hall, and offers graduate degrees in city and regional planning, public administration, urban planning and public policy, and others. The Master of Public Administration was listed on U.S. News & World Report’s 2014 list of best public affairs programs, while the online MPA program was No. 7 on Graduate Programs.

_

9


_

10

_

gestalt theory + proportioning system


_

_

11


gestalt _

12

_


four Square Grid _

nine Square Grid

_

13


_

14

_

defining space operative design + ordering principles


_

_

15


alignment _

hierarchy

16

_


color theory _

plate I

plate 2

plate 3

plate 4

_

17


defining space I _

fibonacci grid

axonometric

study model 18

_


defining

space II _

_

19


golden mean _

20

_


study models _

_

21


final model _

22

_


sketches _

top view

grid

section

axonometric

_

23


_

24

_

historical Historical Precedent precedent Study study


_

_

25


_

first floor

second floor

third floor

26

_


_

north elevation

south elevation

east elevation

west elevation

_

27


_

section

section

28

_

site plan


facade study _

_

29


_

30

_

spatial sransformations


_

_

31


spatial transformations summary _

32

The concept of spatial sequence was to study a cubism painting geometrically and based on that, we derive a grid in which the primary, secondary and tertiary grid can be established. Once the grid was established, we explored further by creating five plates to display a process of transformation by taking shapes from the grid system. The shapes were established in volumetric objects and we used ordering principles such as hierarchy to apply into our shapes. After creating all the objects in different volumes, then we had to interlock the shapes to make them in one united object and there will be 5 different objects in different terms of sizes, colors and angles, rotations and datum. For my objects, each shape has different gray scale but it was kept the same through out the five plates. In each object, one of the shapes, a triangle, which is a primary shape was kept in the same position, but decreased in size. However, the rectangular one was put in a rotation of 360 degrees and the other two shapes were rotate differently in a drastic _ speeds and time frame, which

was in space the rotation of the objects were rotate globally. The volumes were established as in different weights as it increases in each object. The part to whole relationship is visible since the sequence is along the same datum.


sequences summary The sequence implies at least three relations. Firstly, an internal relation, which “the process of word, a device, a procedure”. Secondly, external relations, where to “show the juxtaposition of actual spaces”. Third, architecture implies “a program of occurrences or events,” which characterize architecture’s “social and symbolic” connotations. There are 3 types of relations. The first relation, or known as transformational sequence, or a procedure. In this sequence, it tends to use rules of transformation such as compression, rotation, insertion, and transference. There are closed sequences of transformations, where the chosen rules ultimately imply the exhaustion of a process, its circularity, or its repetition. The open closed sequences implies where new elements of transformation can be added . The second relation, which is called spatial sequence, is known as constant typology, where it implies the movement The third one, space sequence, where objects have to be organized and planned in common axis. Sequences of spaces and sequences of transformation are rarely intersects but There always exists a gap

_

between the conception of space and the experience of space. Tschumi labels this gap “disjunction,” and he claims that the performance of a productive encounter with architectural space necessarily requires disjunction in order for us to “read” space as we might read a text. Much of how we come to understand our location, both spatially and culturally, depends upon our ability to reconcile an ambiguous matrix of often incompatible elements that confront us daily. Disjunction disrupts the users expectations of form and use, and this disruption produces pleasure that users gain from the various experiences within architectural space. Tschumi goes on to argue that users of architectural space relate to this form of “spatial pleasure” through a relationship of violence, a violence that metaphorically represents “the intensity of a relationship between individuals and surrounding spaces.”

_

33


cubism _

34

_


computer simulation _

_

35


spatial sequence I _

second layer

first layer

third Layer

grid

36

_

axonometric


Spatial Sequence I

spatial sequence I _

final model

_

37


Spatial sequence spatial Sequence II I _

38

_

study model


spatial sequence II _

final model

sketch

_

39


_

40

_

conditional transformation


_

_

41


_

42

_


_

_

43


_

44

_

final project


_

_

45


study models _

46

_


drawings _

first floor

second floof

third floor

fourth floor

section

section

elevation

elevation

_

47


final model _

48

_


_

_

49


_

50

_

sketches + drawings


_

_

51


draw + write _

52

_


perspective drawings _

one point perspective

two point perspective

_

53


_

54

_

presentations + exhibitions


_

_

55


_

56

_



Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.