Conceptual Board Presentation

DIGITAL SESSIONS WELSH SCHOOL OF ARCHITECTURE - CARDIFF UNIVERSITY

CONCEPTUAL BOARD PRESENTATION

WASSIM JABI AND SERGIO PINEDA

Digital Sessions / Illustrator WSA 2nd Year Conceptual Board 4, 11 &15 November 2010

Creativity has been defined by the author, dramatist and futurologist Thomas M. Disch as the ability to see relationships where none exist.

Expanding this line of thought, the Conceptual Board is conceived as a platform to explore previously un-seen links between your own design intentions and references in architecture, politics, art, technology, science, cinema, or any other field of your interest.

In the Conceptual Board you are to conceptualise and then construct – with diagrams, text and references from any relevant field – a board that can explain (through analogy and montage) the key proposals in your design at both urban and domestic scales. The resulting piece should manipulate your Masterplan and make reference to key aspects of your design such as: *Public vs private *Landscape and greenery *Uses *Mass vs void *Flows

The conceptual / spatial trail

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Precedent

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Abstract Model/Analogy

Design Outcome

Analogical Montage

Canaletto’s Analogous Venice: The painting contains 3 buildings by Palladio that were built in other cities or never got built. The geographical transposition of the monuments within the painting constitutes a view that we recognize as Venetian even though it is a place of architectural fantasy.

Madelon Vriesendorp painting for Delirious New York

The painting depicts theoretical projects (by Le Corbusier and others), actual skyscrapers in Manhattan and surrealist bodies taken from Dali paintings on a grid reminiscent of the Manhattan grid. The image demonstrates the delirium of New York by portraying an analogous New York, and distils the essence of a place into principles that could be applied in a design project

The Canaletto painting demonstrates how a logical-formal operation could be translated into a design method and a theory of architectural design where “the elements were pre-established and formally defined, but the significance that sprung forth at the end of the operation was the authentic, unforeseen and original meaning of the work�

(Aldo Rossi). This is the very essence of analogical montage and it’s ability to communicate concepts.

Marcel Duchamp, Boite en Valise

Marcel Duchamp, LHOOQ

Jasper Johns, Flags

Peter Eisenman, Palimpsest

Jeff Koons, Puppy

Katie Albertucci. Study of sedimentation patterns.

Katie Albertucci. Study of sedimentation patterns.

Katie Albertucci. Study of sedimentation patterns.

Katie Albertucci. Study of sedimentation patterns.

Katie Albertucci. Study of sedimentation patterns.

Katie Albertucci. Study of sedimentation patterns.

Jin Lee-Jin. Dazzle Camouflage in war ships from the 1st World War.

Jin Lee-Jin. Dazzle Camouflage in war ships from the 1st World War.

Jin Lee-Jin. Dazzle Camouflage in war ships from the 1st World War.

Chen Zan, The Illusion of Depth Through Pattern

Chen Zan, The Illusion of Depth Through Pattern

Chen Zan, The Illusion of Depth Through Pattern

Chen Zan, The Illusion of Depth Through Pattern

Chen Zan, The Illusion of Depth Through Pattern

Chen Zan, The Illusion of Depth Through Pattern

John Belfiore. Patterns of Aggregation.

John Belfiore. Patterns of Aggregation.

John Belfiore. Patterns of Aggregation.

Frederik Hellberg, New Japanese Embassy in London.

Frederik Hellberg, New Japanese Embassy in London.

Frederik Hellberg, New Japanese Embassy in London.

Frederik Hellberg, New Japanese Embassy in London.

The Conceptual Board

“The analogous drawing embodies a changed condition of representation; it exists as the record of its own history. … It has an authenticity, a reality which is, precisely, that of illusion. This reality may then, in turn, be represented in actual buildings. “ Peter Eisenman in “The Houses of Memory, The Texts of Analogy”

First Illustrator session (4 November): Compile your Conceptual Board reference images (find them online, digitize/scan them, etc). Produce a basic narrative for your Board in the form of a paragraph, and a digital sketch of what you intend to do. Remember to document this process on the blog.

Second Illustrator session (11 November): Fully implement all the ideas from the first session.

Presentation (15 November): The process will culminate in the production of a digital version of your Conceptual Board (to be uploaded on the blog) and an A1 print of your Board to submitted and presented briefly in front of the whole group on 15 November. You will have 2 minutes to present your Conceptual Board. Prepare a paragraph of about 100 words to read out during your presentation. Your blog submission will be projected onto a big screen while you present.