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.a presentation module given for first-year architectural communication class, international program, university of indonesia, april 11th 2o11
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Mix Media presentation workshop
Mon, April 11 2011
Arata Isozaki, Re-Ruined Hiroshima, Japan, 1968 •
Cedric Price, Thinkbelt, Staffordshire, UK, 1964-6 •
Peter Cook, Oslo East, Norway, 2005 •
Christine Hawley, Peckham House, •London, UK, 1982
CJ Lim/Studio 8, World of Cow, •London, 2000
“Architects
are, and always have been, conscious of the pArAllel stAte of fine Art: hence the uneasy quote of the ‘art drawing’.”
Nat Chard, Third- •Generation Architecture
Built Within the Body, 2002 & Indeterminate Apartment,
1999
Diller + Scofidio, The Desiring Eye, •Gallery MA, Tokyo, 1992
Diller + Scofidio, Tourisms, •suitCase studies, Walker Art Center,
Minneapolis, 1991
Diller + Scofidio, Tourisms, •suitCase studies, Walker Art Center,
Minneapolis, 1991
Diller + Scofidio, Tourisms, •suitCase studies, Walker Art Center,
Minneapolis, 1991
Constant Nieuwenhuys, New Babylon, 1963 •
Yuri Avvakumov & Yuri Kuzin, •Red Tower (Homage to Vladimir
Tatlin), 1986-9
Peter Cook, (with Christine Hawley and Gerry •Whale), Sponge City, 1975
“We can state something as an inventory, as an
arrangement of parts, as a layout, as a timetable. We can show the distinct and correct position of the arrangement. We can now very easily depict this arrangement from every conceivable viewpoint. Yet something is missing. What is it like? How might it feel to be there? Is it bland, fresh, lively, shiny, wispy, heavy, gloomy or spooky? In making an effort to answer such questions We hAve to communicAte.”
Peter Cook, Instant City, Airship Sequence of •Effect on an English Town, 1968
Michael Webb, Suitaloon, 1967 •
“in this way one experiences drAWing As A commentAry.
Perhaps it was always so: and in particular with technical inspiration.”
Marcos Cruz, In-Wall Creatures, •Plan 1:1 (Stage 2), Hyperdermis study,
1999-2001
Bernard Tschumi, The Manhattan Transcripts, •Part 4: The Block, 1979-80
Eric Owen Moss, Fun House, 1980 •
“All the time we must be ready to interrogate
the Architecture of the unlikely in order to push further the architecture of the predictable.Drawings and ‘near-drawings’ have a special role in all this.”
Coop Himmelb(l)au, Dosen-Wolke •1968
Coop Himmelb(l)au, Open House, 1983 & 1988-9 •
Coop Himmelb(l)au, ZAK- •Sukunftakademie, Haslau, Austria,
1999
Lebbeus Woods, System Wien, •Energy building #1 and #3, 2005
“it is even conceivable that there will be a period
of creativity around a kind of fAux reAlity... they’re fun anyhow. Consider a situation where nearly all architecture is a folly?”
Enric Miralles, Osthafen, 1992 •
Enric Miralles, Bremerhaven, 1993 •
Enric Miralles, Bremerhaven, 1993 •
Enric Miralles, Takaoka Train Station, 1991-3 •
“An assumption of how much the observer
wishes to be told, how much he or she already knows, how much else needs to be alluded to. creAtive lAziness comes into it as well. Why should a designer bother to draw or explain more of the idea than is strictly necessary?”
Imagine yourself as a superhero, what kind of room would you have? It can be an existing superhero, or your own made-up character. explain your choice of character and her/his peculiarities. explore them further.Treating your existing room as a given, what would you change & what would you keep? CoMMuniCate your iMagination using three or More of any kind of Media you deeM appropriate for your idea.
Give us your best effort! There are going to
be three winners, eaCh will be given rp5ook.This is indeed a CoMpetition!
sources:
Benjamin, Andrew, ed. Architecture - Space - Painting. Academy Group, 1992
Cook, Peter. Drawing: the motive force of architecture. John Wiley & Sons Ltd., 2008
Tagliabue, Benedetta, ed. Architectural Monograph No 40. Enric Miralles: Mixed Talks. Academy Group, 1995