Yesterday, I had my final critique for my architecture class, Twisted Siblings: Relationships Between Painting and Architecture. I designed a pavilion and the landscape it sits on based off specific compositional cues that I took from two paintings that I analyzed during the term (for those interested, they were this Christopher Wool painting and this painting by Sarah Morris). I was interested in the idea of designing a landscape that is informed by specific axial gestures, and that is only understandable through the pavilion that sits above the entire landscape. In a way, the landscape would only be readable because of the pavilion, and the pavilion is only there because of the landscape.
A proud Carlos!
Site plan view of my model!
Model detail with George the 1/4 scale male model!
Plan and section (pencil on bristol)!
Exploded axonometric/sketch/conceptual drawing (pencil, pen, on bristol)!
I don’t know if this is the answer you were looking for, my friend, but this is something that didn’t exist until two days ago, that stems from the things that keep me up at night you know? To most people, these images are just cool-looking drawings and models, that relate to architecture. These are the results of my passions here, the craft that I don’t mind not sleeping a lot (or at all) for. I try to rationalize why I like making meticulous pencil drawings on paper that does not forgive my mistakes, drawings that take hours to make, a process that does not allow for erratic decisions or irrational gestures…but it’s what I love doing. The beauty of slowness, of process, of not sleeping more than 2 hours in 2 days just to talk about an idea for 15 minutes!.
But look at how happy it makes me!