@1 year ago with 425 notes
#Mary Alejandra Alvarez #collage #drawing #submission
Chicago Expo High rise/ Speculating on Cultures at the Edge of Destruction.
Mary Alejandra Alvarez
@1 year ago with 121 notes
#Diller + Scofidio #drawing #scale model
Slow House - Diller + Scofidio
‘Our client came to us and said he wanted a house with a view’ - Diller + Scofidio
Diller + Scofidio first became known with their iconic project the ‘Slow House’, built in 1989 for a Japanese art investor as a weekend retreat on the Long Island waterfront. The view was the most important part of the building, prompting them to explore the notion of the picture window and the terminology of real-estate ads. ‘Why is architecture a technology that creates a view?’ Diller recounts. ‘Because it mediates it with a window frame.’ The couple argued that the picture window represents a more advanced technology than the video display. ‘because it strips away the hardware that you have on a TV monitor and leaves only the effect.’
(Source: catrinastewart, via thepapercity)
@1 year ago with 167 notes
#Aaron Bermann #drawing #school of architecture
SUBURBIA TOWER | Aaron Bermann
Suburbia Tower, New York, NY
Columbia University | Spring, 2012
ADV. STUDIO VI | Manaugh / Twilley
In between private rental periods, the detachable units of Mobile Suburbia are housed in a large vertical docking station in Tribeca - one of the most upscale residential neighborhoods in Manhattan. Upon arrival back to the docking station, the backyard unit is separated into two components: the lawn, and the deck, which are housed separately within the docking station. These two areas make up two of the three distinct zones within the project, that each have varying levels of privacy, commercialism, and community attachment.
@2 years ago with 2,252 notes
#Rick Gooding #drawing
Subterranea | Excavating spaces from the depths of the mind « dpr-barcelona
Subterranea by Rick Gooding. Courtesy of Woodbury University School of Architecture
In an era of digital representation, Gooding celebrates the precise and beautiful craft of manual drafting. He works without rulers or measuring devices and carefully constructs his drawings using the most basic architectural drafting tools: a straight edge, a 314 pencil, and an eraser and erasing shield. Gooding works exclusively in black and white. The simple palette occasionally produces Escher-esque qualities. Subversive flips of figure/ground and slips in optical logic confuse the readings of these rigorously constructed drawings.