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Architecture In Perspective (AIP) is the world’s foremost exhibition of contemporary architectural illustration. The annual show consists of approximately 60 pieces, selected by a jury of leading professionals. The AIP jury is convened every year in the home city or town of the current ASAI president. Three prominent jurors recruited from the fields of fine art, illustration, architecture, design and education review the hundreds of submitted images. Top honors go to the best Formal image, the best Informal (sketch) image and three images selected for Juror’s Awards. The premier award, the Hugh Ferriss Memorial Award, goes to the single image that the judges deem to be finest submitted. In a subsequent on-line jury, the members themselves vote to select the Members’ Choice Award, from among the images submitted for the show. In 2009 the ASAI International Student Competition was introduced to encourage young illustrators and to celebrate their work. Judging is conducted on-line by a jury consisting of well-known professionals, assisted by ASAI advisors. From the growing field of entries, one or two Awards of Excellence and one or two Honorable Mentions are selected. These images are included in the AIP show.
26 ARCHITECTURE IN PERSPECTIVE 26th International Juried Exhibition of Architectural Illustration
The American Society of Architectural Illustrators (ASAI) is a non-profit international professional organization whose goals are to foster communication among architectural illustrators, to raise the standards of architectural illustration and to acquaint the public with the importance of such drawing as integral to the practice, creation and appreciation of architecture. ASAI (formerly the American Society of Architectural Perspectivists —ASAP) was founded as a local society by Frank Costantino, Paul Stevenson Oles and Steven Rich in Boston in 1986. Today, it consists of some 500 members from the USA and countries around the world. It is affiliated with the American Institute of Architects (AIA), the Australian Association of Architectural Illustrators (AAAI), the Japan Architectural Renderers Association (JARA), Korean Architectural Illustrators Association (KAIA), the Architectural Society of China (ASC), the New York Society of Renderers (NYSR), the Institute of Classical Architecture & Classical America (ICA&CA) in New York, the Philippine Association of Architectural Renderers (PAAR) and the Society of Architectural & Industrial Illustrators (SAI) in the United Kingdom. In addition to its annual juried traveling exhibition Architecture in Perspectives (AIP), ASAI holds an annual conference, promotes professional tutorials and seminars, publishes a newsletter and offers advice to professional groups, business firms and aspiring architectural illustrators. More information may be found at www.asai.org.
What began as a single small, local, art competition, has grown to become an international celebration of architectural illustration. To help extend this celebration, each year, ASAI publishes a catalog and mounts a traveling exhibition. With its September launch in POLA gallery in Tokyo, AIP 26, is the first show to have been selected and debuted in Asia.
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A M E R I C A N S O C I E T Y O F A RC H IT EC T U R A L I L LU ST R ATO R S
ISBN 978-0-9710064-6-1
A M E R I C A N S O C I E T Y O F A RC H IT EC T U R A L I L LU ST R ATO R S
26 ARCHITECTURE IN PERSPECTIVE 26th International Juried Exhibition of Architectural Illustration
26 ARCHITECTURE IN PERSPECTIVE Published in 2011 by American Society of Architectural Illustrators. Copyright Š 2011 American Society of Architectural Illustrators. Copyrights of individual works of art reside with the artist. All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission from the publisher.
Architecture in Perspective 26 ISBN10: 0-9710064-6-6 ISBN13: 978-0-9710064-6-1 Catalog Guidelines: 1. Architectural Imaging 2. Architectural Illustration 3. Architectural Drawing
Design & layout by Antonio Lennert and Symon Oliver ALSO Collective, Toronto, Canada. Printed in Hong Kong through Four Colour Imports Edited by Gordon S. Grice Directed and proofread by Tamara Horch-Prezioso
Front Cover and Title Page Image: Winner, 2011 Hugh Ferriss Memorial Prize: Baufeld H, Europaallee | Zurich Mainstation by Marcel Schaufelberger, Switzerland Architects: Meierhug Architekten, Zurich Back Cover Images — from top to bottom: Craig Williams, John Humphries, Michael McCann, Toshio Ooishi and Barbara W. Ratner. If you would like more information about any of the artists seen in this publication, please visit our website: www.asai.org
CO N T E N T S
INTRODUCTION
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PRESIDE NT’S FOREWORD
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AIP 26 J U RY
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J U RY WE E K
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H UG H FE RRISS M E MORIAL PRIZE
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FOR M AL C ATEGORY AWARD
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INFOR M AL C ATEGORY AWARD
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J U ROR ’S AWARDS
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AWARDS OF E XCE LLE NCE
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STU DE NT AWARDS
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AN A SAI 25TH AN NIVE R SARY RECOLLECTION
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DESIG NATE D ARTISTS
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BOARD M E M BE R S
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IN M EMORIA M , RICHARD FE RRIE R
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M EM BE R DIRECTORY
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CONTACT
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SPONSOR PAG ES
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INTRODUCTION
Earlier this year, the AIP jury convened in the offices of Nikken Sekkei, in Tokyo, Japan to adjudicate the twenty-sixth Architecture in Perspective competition. The jury consisted of Professor Koichi Yasuda, principal of Yasuda Atelier; Seiichi Kamei, Editor of Casa BRUTUS magazine; and author/editor/landscape architect Hiko Mitani. Also in attendance were, ASAI President Masaaki Yamada, AIP 26 Editor Gordon S. Grice and two able assistants.
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P R E S I D E N T ’ S FO R E WO R D
First and foremost, I would like to express my deepest sympathy to the victims of the powerful earthquake which struck the Tohoku region at 2:46 pm on Friday, March 11, 2011 and the subsequent Tsunami in the region. I sincerely wish a quick recovery for the inhabitants in the affected areas.
Nikken Sekkei meeting room. In addition to the jury, Gordon Grice traveled from Toronto to act as facilitator, and was joined by myself and two other technical support staff. The screening process started around 9:30 in the morning and lasted until 6:00 in the evening, resulting in the final selection of 56 works.
This year, ASAI’s 2011 Conference will be held in Japan, the very country where the crisis happened. While five months have passed since the disaster, the lack of electricity and the issues around the Fukushima nuclear power plant are yet to be fully resolved. I am sure that those who participate in the Conference will see that we humans are capable of calmly dealing with problems in any type of crisis and, through solidarity, can achieve recovery. In that regard, the 2011 Tokyo Conference will be a significant accomplishment and an unforgettable experience for all participants.
As AIP26 indicates, the annual juried exhibition has gained recognition from a broad audience around the world. However, in the midst of the global economic downturn, currency crisis and financial troubles in some European countries, our industry has witnessed a decrease in the size of our market. Under these circumstances, ASAI itself is facing the difficult challenge of maintaining our membership size and remaining in a healthy financial situation.
Welcome to Architecture in Perspective 26. This year, Architecture in Perspective (AIP), an international competition of illustration sponsored by the American Society of Architectural Illustrators, marks its 26th anniversary. Having surpassed its quarter-century, AIP has succeeded in becoming one of the industry’s largest global events. This year’s judging panel was held in Tokyo in the midst of winter’s cold blasts, precisely one month before the earthquake. On February 12, all the jurors — Koichi Yasuda (architect), Seiichi Kamei (editor) and Hiko Mitani (landscape architect) — gathered together in a
Our exhibition, our catalogs and our association have established a valuable reputation as a resource for the architectural and illustration professions, but they are impossible to maintain, especially during the current climate, without the continuing support and cooperation of ASAI’s Board members, Advisory Council, many other volunteers and generous sponsors. I encourage every ASAI member to share our sense of purpose. Finally, I would like to say that I am truly grateful to be part of ASAI and to be able to share friendship its members all over the world. Thank you, and I hope you will enjoy the AIP 26 catalog. — MA SA A KI YA MA DA ASAI President 2011
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T H E J U RY
Professor Yasuda was born in Kanagawa Prefecture in Japan and studied at the Tokyo Institute of Technology, where he received a BE and ME in Architecture. After receiving his MA from Yale University in the United States, he returned to his former institution and was awarded a PhD for his “Practical Study of an Integrated Approach to Architectural Engineering.”
KOICHI YASUDA, CHAIR
Koichi Yasuda’s career includes an advisory professorship at Tongji University in Shanghai and, since 2007, a professorship at the Tokyo Institute of Technology. Between 1983 and 2002, he was associated with Nikken Sekkei in Tokyo. In 2002, he established Yasuda Atelier.
Competition, Tokyo Institute of Technology Midorigaoka No. 1 Building Retrofit, (2005 and 2006), an Environmental Architecture Award from the Japan Institute of Architects, a Design Commendation and Award from the Architectural Institute of Japan, a Dupont Benedictus Overall Winner Award from the UIA and AIA, a Togo Murano Award and a Tokyo Architects Association Award. Major publications include New York Urban Residences (New York: Maruzen Publishing Co. Ltd, 1992), Discourse on the City of Tokyo through Kazuo Shinohara (Kajima Publishing Co. Ltd, 2001) and The City Reconstruction Methods (Nikkei BP Publishing Co. Ltd, 2002).
Professor Yasuda has been the recipient of many awards. These include a Gold Prize for Space Design Competition Glass Block/Kumakiri (2005), Two Gold Prizes for Renewal Design
Hiko Mitani practiced for 10 years as a landscape architect in Japan, including a five-year apprenticeship under a Kyoto Garden Master. He subsequently moved to the US, where he practiced landscape architecture in Rockville, Maryland for nine years and operated a design-build firm, Japan Landscape Architecture Inc. During his stay in the US, he worked for seven years with Peter Walker and Partners, Inc., in Berkeley, California.
HI KO MITA N I
Mitani is currently the CEO and chief designer at Mitani Landscape Studio, Inc., a firm that has an international clientele, is the Japanese delegate to the International Federation of Landscape Architects and is a member of the American Society of Landscape Architects.
Hiko Mitani has received the IFLA Award of Excellence and a Japanese Institute of Landscape Architecture Grand Prize for the design of Kyoto State Guest House. He also received an Award of Excellence in the Landscape Design category at the seventh IFLA APR Awards for Landscape Architecture. Mitani was lead author for the “Landscape” chapter in the Architectural Design Data Corpus, compiled by the Architectural Institute of Japan. He was lead editor of a “Renga-Landscape” series in Shin-Kenchiku magazine, as well as author of the textbook Environmental Design.
Seiichi Kamei was born in Tokyo in 1962. After working for the editorial department of BRUTUS and Ginza magazines, he started his career as Editor-in-Chief of Casa BRUTUS in 2000.
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Casa BRUTUS is a monthly magazine that focuses primarily on design and interiors but also includes a wide range of related subjects such as art, food, fashion and travel. First published in 1998, Casa BRUTUS has been called Japan’s “most intriguing architecture magazine.” Comprehensive, beautifully designed, cutting-edge and popular, it has easily distinguished itself from other architecture and design magazines.
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J U RY W E E K
THE TO KYO E X P ERI EN C E In mid-February, I had the thrill of visiting Japan for the very first time. It was my mission to help ASAI President Masaaki Yamada to organize and conduct the 26th annual Architecture in Perspective Jury and to review arrangements for the Fall Conference. A few weeks after my visit, a series of earthquakes and a tsunami devastated large parts of Japan and disrupted services all over the country. In the subsequent months, the nation struggled to recover from the damage and mourn the loss of many lives, while the rest of the world could only marvel at the resilience of the Japanese. History has taught them to prepare and their culture has taught them to endure. Not only were they equipped to deal with earthquakes, they were remarkably quick to re-establish normality. These characteristics reinforce one striking fact: Visitors to Japan, whether they spend a few days or a few decades, usually agree that it’s an exceptional place. A major objective of my trip was to make informative notes for the benefit of ASAI members who were planning to attend the fall Conference and to persuade as many others as possible that they should plan to come. So my ten days in Japan consisted of attending a number of meetings to discuss Conference arrangements, punctuated by a lot of “contextualizing”: walking, subway riding, sightseeing and absorbing the culture. My notes, which appeared in ASAI’s on-line newsletter, covered everything from architecture to sushi bars and lavished much praise on the Tokyo Metro, which is surely one of the greatest achievements of our modern age. On the other hand, I failed completely to increase my grasp of the language. While this was never an impediment to finding my way around Tokyo, it was a distinct disadvantage when it came to keeping notes on the AIP jury. The result is that the following brief account is a rough summary of the proceedings, compiled mostly by our president, Masaaki Yamada. The jurors were generous enough to record their thoughts so that we could include them in the descriptions of the six special awards, which appear on the following pages.
In The Art of Travel, philosopher Allain de Botton writes, “Among all the places we go to and don’t look at properly or which leave us indifferent, a few occasionally stand out with an impact that overwhelms us and forces us to take heed.” Tokyo is certainly such a place. It’s a city that grows on you, and keeps growing on you, long after you’ve left it. The city and the country have experienced dramatic changes since my visit, but they continue to heal. Along with its other striking qualities, Tokyo must surely be one of the most resilient cities on earth. THE J URY P ROC ESS Our three esteemed judges looked carefully at 446 images from 156 artists, which was an increase over last year’s submission total. We had two technical assistants helping us, so we managed to avoid technical problems entirely. The process took the whole day, from 9:30 am until around 6:00 pm, culminating with the jury’s 56 selections. The final collection includes a good mix of digital and hand drawings, with lots of sketches. There are 23 digital drawings, 21 formal hand drawings and 12 hand sketches. In all the entries, 13 countries were represented — the largest number ever. In the top six winners, Switzerland, the US, Canada and Japan are represented. The jury members enjoyed the day and were happy to spend the 8 1/2 hours looking at the drawings and discussing them. They all agreed to record their comments for the catalogue and looked forward to attending the Awards Dinner in Tokyo in the fall. — G OR D ON S . G R IC E, AIP 26 Editor
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This striking and unusual image is Swiss illustrator Marcel Schaufelberger’s first submission to an AIP exhibition. The compositional drama in this intentionally understated and muted rendering shows an impressive technical and aesthetic mastery. We look forward to Marcel’s future submissions.
Looking at the illustration, it can be clearly understood that it focuses on a particular project located fairly close to the Zurich Main Station in Switzerland.
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The view is from the window of a slow-moving train and the image directs our vision precisely and exclusively toward the simple façade of a building which could very easily be overlooked. The hazy blue twilight sky and delicately purple-tinted clouds give a melancholic feeling of the end of day. The lines of the railway tracks and electrical cables place an emphasis on the perspective, expressing the blurred image of the fast-moving passing train in an abstract manner. All the lines are deliberately illustrated sweeping sideways to the left, so as to give a flow to the entire image, and a natural feeling that is truly remarkable. With overflowing elegant transparency throughout the image, the timeless expressiveness of this illustration attracted the eyes of all the jury members, and as a result, it has been unanimously chosen for the honorable Hugh Ferriss Memorial Prize. — KOIC HI YASUDA , AIP 26 Jury Chair
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M A RC EL SC HAUF ELBERGER Baufeld H, Europaallee | Zurich Mainstation, Switzerland Meierhug Architekten, Zurich Digital Info@x-frame.ch
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First of all, the composition of the display is truly remarkable. Is it because of the iron bridge above? The asphalt road, curving nicely below the bridge with its color slightly darkened, tones up the bottom of the image. The feel of its massive volume and the subtle use of color at the top of the iron bridge convey the beautiful weight of the object.
The overall composition makes masterful use of interlaced curves — the fine curve of the concrete bridge and its entwined shadows, the contrast and harmony of the curves composed of the straight segments of the iron bridge in front, the beautiful curved line of the road passing under the two bridges, the slightly drooped overhead electrical wires, the arched street lamps, the undulation of the terrain on the left side of the road, the sloped road found behind the concrete bridge — all contribute to a striking painting that naturally leads the viewer’s sight further and further into the composition.
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In addition, the flow and shading applied to the trunks of the trees are excellent, somehow reminiscent of an ink painting. The balance between the firm straight lines of the street lamp poles and the soft touch of the trees offers a stable and rhythmical streetscape, adding liveliness to the entire image. It is wonderful to feel the warmth of the sun and the autumnal air, tactfully provided by the yellow fallen leaves piling up behind the bridges. Riding on a Harley, it makes you feel as if you blend into the landscape with the sound of its engine reflected against the bridges. It is just this kind of fine road.
The artist provides his own commentary on the drawing: “This watercolor rendering was more about a challenge than a need. It was the result of a discussion about a possible proposal that could affect a portion of a very sensitive area in the city of Toronto, the Rosedale Valley Ravine. The proposal was based on the concept of adding an entrance road to an existing property and what the visual effect would be. The challenge was that a simple inexpensive photograph with a digital ‘tip-in’ could do the job ‘quick and cheap.’ My opinion was that an ‘objective’ digital rendering at this stage of the game would be far less effective than a ‘subjective’ watercolor, and that the aggressive digital might actually kill the project before it even got off the ground. My message with the watercolor was to create a subliminal ‘subtle addition’ as opposed to the ‘aggressive change’ created by a digital image. “Both the traditional and digital media have a place in the profession. Sorting out which belongs where is a major challenge.” — MIC HA EL MCCA N N
— H IKO MITA N I, AIP 26 Juror In an on-line jury subsequent to the AIP Tokyo Jury, the ASAI membership selected Michael McCann's ‘Rosedale Valley’ for the 2011 ASAI Members' Choice Award.
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M I C HA EL M c CA NN Rosedale Valley | Toronto, ON, Canada Mark Reeve Watercolor, 37” X 52” Michael@mccann.on.ca
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The artist may have inserted the red of the uniform jackets intentionally, or the scene may have been caught by accident to reflect the time right after the gathering of students in their school colors. The end of the day with lengthening shadows, the building in red bricks, the red jackets, the Stars and Stripes ‌ with these colors and this composition, an image of an ordinary campus landscape is conveyed to viewers, penetrating their emotional senses. It is a beautiful sketch, as if the thoughts and feeling of each person passing by the building is truly and precisely described on a piece of paper. 12 — SE IICH I K A ME I , AIP 26 Juror
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BA RBA RA W. RATNER Woodward Academy | Atlanta, GA, USA Farewell Mills Gatsch Architects Watercolor, 6” x 3.6” Ratz@mindspring.com
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Unlike two-dimensional presentations by most rendering artists, this piece of work is very simple, yet beautiful and imaginative, as well as truly original. Using slender wood sticks floating above the flat plane in a minimalist manner is an effective and eye-catching element. The overall composition seems just about right, and this piece of work is more than a commercial rendering – it feels more like a piece of Art. — H IKO MITA N I, AIP 26 Juror
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J OHN HUM P HRI ES Of Articulated Frame and of Skin Mark Reeve Watercolor Drawing, 22” x 30” Albatrossjim@mac.com
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By showing a building within a tranquil world made of trees, soil, clouds, rain, sky and light, this illustration gives the impression that time has stopped in an instant and expresses a world without any sound. The look of the sky, which could be seen as sunny, cloudy or rainy; the appearance of the forest created by every single tree; a building with sharp lines emerging in the landscape — all are created in a blink of an eye by the depth of nature folded within various ambiguities. The work’s strong expressiveness, emphasizing an architecture within the contrasting vague natural beauty, is truly inspirational. 16 — SE IICH I K A ME I , AIP 26 Juror
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TOSHIO OOISHI | Toshi Design Office A Training Institute Sanichiro Minami, Yamashita Sekkei Oil Pastel, Watercolor Ooishi@design-5.com
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This illustration, with the scenery of a signboard at a gas station and reminiscent of the movie Baghdad Café, touches and brings out the viewer’s deepest subconscious memory. Continuous red desert and clear blue sky — it is outstanding to show the contrast between the roughly illustrated signboard with the enlarged image of the oldies poster and the realistic, sharp polish of the metal object, which may have come from a futuristic Hollywood movie. The figures of the human and the dog are intentionally expressed in a rough manner, silently revealing that the scene is a virtual, computerized image. The spray of sand, left by a car that just passed by, makes the scene look as though time has stopped. It is somehow realistic, but at the same time, the image seems to emerge in a dream somewhere and remains in your heart endlessly. I love this work. — KO ICH I YA SUDA , AIP 26 Jury Chair
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C RA I G WI LLI A M S | Bec ker Morga n Group, Inc. Red Craig Williams Digital, 16” x 28” Cwilliams@beckermorgan.com
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DENNIS ALLAIN The Last Tiger Ring Dennis Allain Digital, 28” x 19” Dennis@dennisallain.com
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ERI C BRI GHTF I ELD | ImageFiction Block 37 Restaurant | Chicago,IL, USA HOK Digital, 34” x 36” Eric@imagefiction.com
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LIANG CHEN | CrystalCG, Shanghai GH Project CrystalCG Digital Info@crystalcg.co.jp
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RI C HA RD C HENOWETH The Paris Grain Market, Circa 1786 Jacques-Guillaume Legrand and Jacques Molinos Digital, 15.2” x 20” Rc@chenarch.com
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MICHAEL CHISAMO RE Stony Brook Bridge | Dansville, NY, USA Michael Chisamore Pen & Ink, 9” x 7” Mkchsmre@memphis.edu
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DA N C HU RC H | Church Associates PNC Achievement Center for Education and Interpretation The Parklands of Floyds Fork in Louisville, KY, USA Bravura, Architecture; WRT, Landscape Architects Watercolor, 13” x 22” Wdanchurch@aol.com
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DAVID R. CSONT | Urban Design Associates Yonkers Pattern Book | Yonkers, New York, USA Urban Design Associates Pencil, 10” x 12” david.csont@urbandesignassociates.com
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M A RI E EL DRI DGE Spring Creek Village | Canmore, AB, Canada IBI Group Watercolor Marie@architecturalillustrations.ca
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MICHAEL O UZIKOV | FO RREC Ltd. Wanda Dalian | Dalian, China Forrec Ltd. Pentel & Colored Pencil, 18” x 24” Mouzikov@forrec.com
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SHUJ I F UNA BI KI The National Museum of History in Vietnam | Vietnam Nikken Sekkei 3DSMAX/PhotoShop Funabiki.shuji_sd@nikken.co.jp
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GILBERT GO RS KI Temple of Vespasian | Ancient Rome Unknown Digital, 12” x 16” Gilgorski@aol.com
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JA N E G REA LY Red House | Queensland, Australia John Mainwaring Architects Acrylic on Canvas, 24” x 40” Jane@janegrealy.com.au
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LO N G RO HS | Neoscape Intermodal Train Hall Design Option | Anaheim, CA, USA HOK Digital, 16” x 24” Sarah.lawson@neoscape.com
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C HRI STOP HER GRUBBS | Christopher Grubbs Illustrator Gateway Arch | Saint Louis, MO, USA Peter Walker & Partners Prismacolor & Watercolor on Xerox Copy of Pencil on Mylar Original, 6” x 5” Chrisagrubbs@comcast.net
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TOMOAKI HAMANO | Nikken Sekkei “S” Bank Project | Chengdu, China Nikken Sekkei 3DSMAX Tomoaki.hamano@nikken.co.jp
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A NDY HI C KES 266 West End Avenue Restoration | New York City, NY, USA Rudolphe Daus Digital, 28” x 60” Andy.hickes@verizon.net
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HO PPER DES IGN + ILLU ST RAT IO N Willamette Science Center | Eugene, OR, USA Hopper Design + Illustration Digital, 6.5” x 11.5” Hopperdesign@comcast.net
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HI ROSHI HOTTA | Takenaka Corporation Snow Night | Fukui, Japan Takenaka Corporation SketchUp/PhotoShop Yoshimoto.kazunori@takenaka.co.jp
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HIRO KI IKEDA | Nikken Housing System “Y” Project | Japan Digital Hiroki.ikeda.nhs@nikken.co.jp
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YOSHI A KI I KEDA | PDSystem Mountain Rhythm PDSystem Digital Y.ikeda@pdstk.co.jp
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TOSHIRO KAMEZAKI | KEY Design N Project | Nagano, Japan Oak Architect Office Watercolor Kamezaki@key-d.jp
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TA KUJ I KA RI YA Villa by the Lake | Shiga, Japan Takuji Kariya Watercolor/Gouache Riya@ares.eonet.ne.jp
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CA LEB LAU GHLIN Willamette River Bridge and Landscape Restoration OBEC/TYLINN/Cameron McCarthy Landscape Architects & Planners Caleb@cameronmccarthy.com
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L AURA LI NN Prairie House Laura Linn Watercolor, 9� x 6� Laura@lauralinnillustration.com
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ANNA LOS EVA | ArtandDesignStudios Chestnut Hill College | Philadelphia, PA, USA Saylor/Gregg Architects Watercolor, 27” x 19” Aloseva@yahoo.com
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TA KEHI KO M I YA Z A KI | Atelier Arm Heiwa Ohashi Pedestrian Bridge Design Competition | Hiroshima, Japan Nippon Engineering Consultants Co. Ltd./Work Vission Co. Ltd. Watercolor, Pencil & PhotoShop Armiya@oak.ocn.ne.jp
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MO RITOS HI NAKAMU RA | Morry Art Studio Desert Moonlight Moritoshi Nakamura Watercolor, 22” x 16” Morry88as@yahoo.co.jp
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A LEKSA NDER (OL EK) NOVAK-ZEMPLINS KI A Strange Detroit/Paris Dream | Detroit, MI ,USA Aleksander (Olek) Novak-Zemplinski Digital, 20” x 20” Olek@biolinia.com
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ROBERTO OU | Dayluxe Gallery Inc. Scenic — Phase III | Toronto, ON, Canada Page + Steele IBI Group Architects Digital Dayluxe.drawings@rogers.com
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WESLEY L. PAGE University of the West Indies Campus Master Plan | St. Augustine, Trinadad Hanbury Evans Wright Vlattas + Company Marker & Colored Pencil on Photocopy, 12� x 18� Wpage@hewv.com
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ANNE PAT T ERSO N Roman Way | Alcester, England Ball Point Pen & Watercolor, 5” x 8” Fivepatt@aol.com
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A RI E F RA NKE | PixelPool Bugaboo Stand | USA Staat Amerstadam Digital Maarten@pixelpool.nl
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PATRICIA POUNDSTONE Residence, Pacific Palisades | Los Angeles, CA, USA Design Group Pencil & Marker, 11” x 17” Pattipstone@yahoo.com
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SA M UEL C . RI NGM A N Chisholm Springs Community Center | TX, USA McCarthy Architecture Watercolor, 8” x 10.5”
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AL RU SCH AIA River Driver’s Retreat | IL, USA Al Rusch, AIA Transparent Watercolor & Digital, 13” x 18” Arusch@icc.edu
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ETSUKO SATO | PDSystem Study 1 Etsuko.nitta@shimz.co.jp
2011
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RON SCHATZ & CHARLES WOODS | Image Grille The Village | Concept Charles G Woods 3D Model Rps@imagegrille.com
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I A N STA NTI A L L Rotorua Lakeside Development | Rotorua, New Zealand Wraight Athfield Landscape + Architecture Ltd. Mixed, 16.5” x 9.3” Ian@stantiallstudio.co.nz
2011
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JEFF ST IKEMAN The Modern Theater | Boston, MA, USA CBT/Childs Bertman Tseckares Inc. Digital, 11” x 14” Jeff@jeffstikeman.com
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TOSHIHIRO SUWA A Motorcycle House Suwa Design Pencil & Watercolor, 11” x 24” Suwa@zephyr.dti.ne.jp
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DAISUKE TSUNODA | Nikken Sekkei N Project | Abu Dhabi, UAE Nikken Sekkei 3DSMAX/PhotoShop Tsunodad@nikken.co.jp
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M A RI UENO | Armo Sekkei A Sake Cellar Kajima Design Watercolor Ueno@armo.co.jp
2011
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PEILI WANG Magnolia Hall | Savannah, GA, USA Watercolor, 18” x 24” Pwang@scad.edu
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TI M OTHY WELLS Moffitt Library Renovation | UC Berkeley, CA, USA EHDD Architecture Watercolor, 8.5” x 14.5” Twellsillustrator@yahoo.com
2011
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ST EWA RT WHI T E Rutgers Student Housing | Rutgers University, NJ, USA Design Collective Watercolor, 10” x 14” Stewhite30@mac.com
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ROMAN JOHN WORONOWSKI Cliffside Colored Pencil, 18” x 24” Romanjw@hotmail.com
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TAKAHIRO YAMAGA | Nikken Sekkei Pola Museum | Hakone, Japan Nikken Sekkei Acrylic & Watercolor Yamaga@nikken.co.jp
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TI A NYA YA NG | Crystal CG Shanghai Shinse Sales Center Info@crystalcg.co.jp
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KAT U MI YOS ITANI | Gallery Yoshiya Shosoin Office | Nara, Japan Nikken Sekkei Watercolor Yositani_katumi@yahoo.co.jp
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Y UKA RI Y URA | PDSystem Night of Nusa Dua | Bali, Indonesia Yukari Yura 3DSMAX/PhotoShop Y.yura@pdstk.co.jp
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STU DE NT AWAR DS
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T H E J U RY
M AART EN VAN D OOR EN Maarten van Dooren is the founder and CEO of PixelPool, an architectural visualization studio that specializes in the visualization of Retail Spaces. The firm employs a staff of 17 artists and has offices in Portland, Oregon and The Hague, Netherlands. PixelPool has been a preferred partner for Nike Global for more than five years.
While studying architecture at Delft University, Maarten developed an interest in perspective drawing. Although PixelPool produces only digital work, Maarten still has an interest in traditional techniques. Maarten is also a fanatical golfer and likes to play the piano. He is currently planning to open an office in London, UK. In addition to his two Awards of Excellence, Maarten received the Hugh Ferris Memorial Prize in 2009.
D EN N I S AL L AI N Dennis Allain AIA is an architect/illustrator who has been practicing architecture and creating artwork for over two decades. Dennis’s unique work stands out in the world of architectural visualization, most notably such work as Saint Georges Church and the 2006 Hugh Ferriss Award winning painting The Arthur V. McCarthy Memorial. ASAI members have voted Dennis’s work The Members’ Choice for three of the four years since the inception of the Award.
Dennis was born in Salem, Massachusetts in 1967 and grew up in Danvers, north of Boston. He attended Wentworth Institute of Technology, where he earned his Bachelor of Architecture degree. From 1990 to 2004, he found employment with several design firms in the Boston area and in late 2004, founded his Boston-based design studio.
C H RI STOPH ER G RU BB S Christopher Grubbs’ illustration career began as a student, drawing for R. Buckminster Fuller’s “Old Man River” domed city project for East Saint Louis, Illinois. He has drawn for the National September 11 Memorial in New York, the Walt Disney Family Foundation Library, Crissy Field in San Francisco, master plans for historic Charleston, the Grand Canyon Village Interpretive Center, Beijing Financial District, Shanghai Riverfront, Hong Kong, Washington D.C. and the 2000 Sydney Olympics. His drawing skills have led him to become a design consultant at Yellowstone National Park, for New Orleans’ Broadmoor neighborhood, the Martin Luther King, Jr.
National Memorial in Washington D.C., and major urban master plans throughout China. Extensive plein air drawing studies include the post-Katrina New Orleans urban fabric and New Zealand’s agricultural shelter belts. A Visiting Assistant Professor at Washington University in Saint Louis, he has lectured and held workshops at Colorado State University, Montana State University, Rhode Island School of Design and the University of California at Berkeley. Recipient of 17 Awards of Excellence from ASAI, Chris earned their highest honor, the Hugh Ferriss Memorial Prize in 2005.
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O B S E RVAT I O N S
Viewing the entries in the 2011 Student Competition, it’s instructive to look back on how student drawing has changed in the quarter-century that ASAI has been in existence. In the past, design students were taught the tedious process of constructing perspectives by hand. As a result, student drawings tended to be rigorously rendered perspective views of architectural forms. Today, we all rely more exclusively on computer programs to construct perspectives for us, so hand drawings are allowed to be freer and more organic. Even computer perspective layouts are sometimes treated with more abandon than in the past. This was certainly evident in the student work presented this year: the digital work was refreshingly loose; the hand drawing was soft and expressive. Another important and welcome development — in architectural design as well as architectural drawing — is the emergence of narrative. The student submissions that most captured the jury’s imagination were those that had a story to tell. In many of the hand drawings submitted this year, human figures were used, not merely to add scale and depth to the drawing, but to participate in an activity and engage in interaction that added a sense of animation and purpose to the image and the architecture. When there’s something for the imagination to dwell on, a resonance is created that can elevate the drawing into the realm of fine art. The primary purpose of an architectural drawing is to communicate not just an image, but also an architectural idea. When the intent of the architecture is effectively carried through in the presentation, then the drawing comes alive. In one of the submitted drawings, the idea was so beautifully communicated that one juror remarked without hesitation: “I think I understand what the architect was trying to say.” This is possibly the highest compliment that can be paid to an architectural illustration. And that drawing is one of the three selected for this year’s show. The changes in architectural drawing that have occurred in the past quarter-century are surely greater than any witnessed since the Renaissance. That’s a staggering concept, but I think it’s true. The fact that architects, illustrators and, most particularly, students are guiding this process shows great promise for the future of our profession. — G OR DON S . G R IC E, Jury Moderator
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The jury went through the images in typical fashion until we came upon Amy Learmonth’s beautifully executed image. As the image came into view, a sigh of interest was audible throughout the virtual conference room. For me, the design instantly harked back to the earlier days of Syd Mead’s architectonic/industrial imagery. The rendering was like an echo from decades past, yet fully engaging to the viewer. The minimal use of color was deliberate, yet not to the point of needing to “stay in the lines.”
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Upon further inspection, I felt myself walking along the center catwalk into the central space. The sense of depth and volume was both powerful and moving. One juror commented on the seemingly careless technique of coloring the image. The feeling that this piece had somehow grown from the great movie and theater poster styles of the ‘60s was nostalgic, yet expressive and current. For me, the duotone approach allowed me to view the architecture in its simplest form. The shapes of color became infinitely more important than their supposed exact placement.
When it came time to reach a consensus as to which image should be chosen as this year’s sole Award of Excellence selection, we were unanimous. It was evident that the artist had a wonderful command of the architectural language and had created the image with conviction. I for one was thrilled to be able to write a few words on this piece. The artist needs to be commended for her evocative design efforts and her command of media that possessed the remarkable ability to capture all of our imaginations. — D ENNIS A LLA IN , Lynnfield, MA, USA AIP 26 Student Awards Juror
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A MY LEA RM ONTH | University of Queensland The Seddon Project | University of QLD, St. Lucia, QLD, Australia Amy Learmonth 2D Digital image; combination of CAD render & hand-drawing (ink pen) overlaid in Photoshop, 23.4” x 16.5”
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Ayami Takada’s subversive drawing skips into the room like a defiant, precocious child whose aim is to provoke you. I was a bit intimidated by the drawing at first. Its quixotic subject and seemingly careless, almost naïve, style caused me to discount it: the drawing didn’t behave as it should. It did not represent any current graphic conventions or vogues I was familiar with or approved of. It challenged my notion of what a proper and presentable architectural illustration should be. But as I spent time with the drawing, and it took some time, I accepted its challenge, learned a little, and was rewarded by what I saw in it. It is a wonderful drawing.
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First and foremost, the drawing is speaking a graphic language that’s quite accomplished, original and so unique to me that I am not really sure how it was made. Is the improbable architecture a paper collage? Are the sky and its background buildings, so lovingly rendered, the result of some sort of fresco technique? Is there any computer imaging involved? I don’t know. Perhaps it is a dream. And the more I studied the more I realized that its style was not careless. It is carefree. It looks like the result of a thoughtful process. The drawing seems inevitable, to have been “built” organically, not clicked on, dragged and assembled on a screen.
How is this graphic language used? What is the artist saying to the viewer? Imagine this subject drawn as dark and brooding masses by Hugh Ferriss or as an ultimate megastructure, coolly rendered by Helmut Jacoby. This artist too has a singular vision but it is quite different: it talks of a whimsical, tenuous, nearly floating city of lanterns, perches and unexpected origami views glimpsed through shapes that are big but animated by a richness of detail. I am not sure I would like to live there but I would like to see more of it. This drawing is a success because it is doing what a good drawing must do: it persuades by telling us an articulate, compelling story. If this particular story is the product of computer modeling, then I am hopeful for the promise of the technology. If it is, as it appears, a partnership of the hand, brain and heart, then I am hopeful for the future of architectural illustration. — C HR ISTOP HER G R UB B S, San Francisco, CA, USA AIP 26 Student Awards Juror
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AYA M I TA K A DA | Tokyo University of Art Graduate School Beyond Complexity, Tokyo Re-Metabolizing, Imaginary Ayami Takada Colored Pencil
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When the jury came to Koichiro Sugiyama’s image, we were all struck by this fairytale, Tim Burton-like image. From a distance it looks like a hand-painted, combined section/elevation of an organic housing complex, but a closer look tells me it is a photocomposition of a model which has been post-produced in such a way that the scale of the original model is very hard to figure out. Possibly a ceramic shard stood in as a model for this study and the assignment was to make an everyday item into a habitable space, a task which is still part of the curriculum at a lot of universities around the world. But does the fact that this image is largely built up out of photos matter? I don’t think it does. In the end, it is the whole image we see, and the composition, use of color and the overall atmosphere of the image are extremely well chosen.
The way the moonlight shines on the right side of the “shell” and the people looking outside up into the sky take the viewer to a dreamy state of mind which adds to the effect of the softened shape of the design itself. Maybe the fact that I cannot exactly tell how the image was created makes it even more mysterious. Well done. — MA A RTEN VA N DOOR EN, The Hague, NL AIP 26 Student Awards Juror
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KOI C HI RO SU G I YAM A | Tokyo University of Art HUG Project 2 | Ibaragi, Japan Koichiro Sugiyama Watercolor & Photoshop
2011
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A N A SA I 25t h A N N I V E R SA RY R ECO L LECTION BY F RAN K COSTAN T I N O, ASAI CO-FOUNDER
B EG I N N I N G S
EA R LY Y EA R S
It was with a little bit of pride, a measure of humility and a healthy dose of incredulity that we celebrated ASAI’s 25th anniversary last year. All anniversaries mark the passage of time, but they also offer the opportunity to assess the past, present and future. So it seems fitting, as we enter our second quarter-century, to reflect on our early days and the variety of unforeseen, monumental tasks that have somehow been completed.
In the society’s early days, we had to type everything, cut, crop and paste images or text by hand, straighten columns and headlines with X-acto knives and straightedges. Invariably, it was after work at Steve’s, or Frank’s or Tamotsu’s office, that this work was done for our PR. Let’s not forget the typing and addressing and mailing of everything to our new members — and to as many firms as we could think of.
It started in 1983, with an idea first discussed between Steve Oles and myself, over a two-year period, when we were both teaching at Harvard and RISD. The idea was to form a new group to bring illustrators together, akin to the defunct New York Architectural League Drawing event and the Birch Burdett Long Memorial Prize (won twice by Steve and also by Helmut Jacoby). In 1984, we finally agreed to invite some local (Boston-area) illustrators to submit one or two illustrations. We convinced a skeptical education director to provide a space, and we held a four-hour display and reception in the Faculty Lounge of the Boston Architectural College. The Dean, director and faculty of the school were so impressed, they invited us back for a month-long fall show in the main lobby gallery for the following year. This time, in 1985, we extended the range of our invitations, to include works from all over the Northeast and a few from other states, as well as a dozen or so pieces from Australia, where Steve had visited earlier in that year. It was from the success and excitement of those two shows, and fueled with some celebratory drinks on Newbury Street, that we concluded that maybe this was a good thing. It was then that Steve Oles, Steve Rich and Frank Costantino, over coffee in a restaurant, hatched the idea.
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In those early days, well before computers, finding a name (very much influenced by SAI, our then fiveyear-old counterpart in England), structuring the organization model, producing the graphics, the exhibition criteria, finding jurors, setting policies and procedures, designing a logo and a catalog, and administering a new group, was a homespun, labor-intensive process. It’s worth noting that our first dues-paying charter member was Elizabeth Day (still a popular and valued member); and I remember Steve showing me her check, to provide evidence that there just may be something to this idea.
Steve Oles adapted the classically proportioned letters of the Boston Society of Architects to design the new Society’s logo and masthead. It was meticulously drawn, with careful cast shadows by Steve Oles. With little business or publication background, we were unprepared to found an organization. We had to develop everything — policies, guidelines for the competition, submissions, shipping art for shows, criteria for the catalog, invitational and thank-you letters, policies for venues, PR pieces, marketing, member lists and much more. Our by-laws were fashioned from the AIA’s and BSA’s formats by Steve Oles. Once we put our first call-for-entry out there, we had to manage the overflow of slides, label and list them and get the jury together. We had to find cost-effective local print shops to quote some base prices for a black-and-white catalogue, design the page layout by hand, review drafts and paste-ups, resize art with photostats, bug members with urgent calls to send in better quality transparencies and/or prints, or missing info — by mail, no less, since even faxes were just starting to be available. There was many a shared late night with the founders doing all this work, with Steve Rich, our first unsung Treasurer, juggling funds to pay bills; and stay solvent. In the early years, we also developed, then formalized, associations with sister groups and individual illustrators in England, Australia, Japan, Canada, Korea, Mexico, China and even New York City, with the NYSR. Trips by the founders or officers to some of these places secured these relations. We tried to define the profession as the founders saw it then. After all, Co-Founder Steve Oles had been officially recognized by a leading magazine poll as the “architects’ favorite illustrator” and the “Dean of Architectural Illustration,” a hugely favorable credibility factor for the Society’s early endeavors.
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AWA R D S O F E XC E L L E N C E
To give the society further credibility, the founders, and then each successive President, sought out leaders in the architecture, design and visual arts fields to serve on AIP juries. Our 75 jurors have included Gold medalist architects, firm founders, partners, and principals or owners, a Pulitzer Prize winning critic, Deans of Architecture schools, University Department chairs and professors, Gold Medal Hall of Fame illustrators, internationally renowned architectural illustrators, interior, graphic and industrial designers, engineers, developers, photographers, museum and gallery curators, authors, fine artists and sculptors, Ferriss winners and past Presidents, book and magazine editors — all eminent and experienced professionals who have generously given their time (with first class accommodations and sumptuous dinners, to be sure) and discerning skills to select each of the 25 Architecture In Perspective shows. But not only did ASAI’s competition, exhibition and catalogues succeed and thrive, the competition became international and the catalog evolved from a fledging black-and-white, home-grown production delivered by hand to offices and retail sources, to a slick graphically striking publication, digitally designed, formatted edited, and printed across five countries around the globe. Our AIP catalogue has long been ASAI’s calling card to the design world, and has become a worldwide resource through our web site, and a permanent record of our professional accomplishments. From this success, and strong recommendations from the BSA chapter and many professionals, ASAI and its three Co-Founders received the AIA’s Institute Honors Award in 1995, in recognition of the Society’s significant contributions to the profession of architecture. OU R F U T U RE This journey to create an organization that would be both a voice and a resource for the national (and then the international) architectural illustration community was accomplished with the founders’ start-up funds and with a lot of determination, hard work, persistence, and dedication from our presidents, our Board and our member-volunteers. We have achieved 25 years, invited 75 jurors, produced 32 books (catalogs and sourcebooks), exhibited AIP in over 125 venues, featured over 1,000 artists’ drawings and sorted nearly 15,000 submitted images.
ASAI has seen its fortunes wax and wane over this quarter century, with subtle changes and refinements, and a major, agonizing identity shift with our name change from ASAP (I had to say it once) to ASAI. We still have to recast our Ferriss Prize medallion to reflect the new name, hopefully with a donor’s resources. The profession has stepped full-blown into digital imaging, beginning with its slow emergence from the rudimentary MacPerspective and AutoCad systems, to the fully animated movie-quality productions of individuals and large firms. CGArchitect, founded by Jeff Mottle, has emerged as a major forum for the world’s digital practitioners, and has partnered with ASAI and other groups to forge new directions and new possibilities. For many years, Steve Oles and some other experienced members have consulted with Adobe, Apple, Piranesi and other corporate digital providers to refine their imaging programs and products. I have worked for nearly 10 years with a dozen of our counterparts in other visual arts disciplines to establish ASIP, as the official representative body for collecting international royalty monies for US artists. The projected results of our continued efforts will be a revenue share of millions of dollars in royalties for ASAI’s financial and operational benefit. Architecture, design, and illustration professionals have experienced the worst economic conditions of their careers. ASAI has been impacted, and the Boards and Executive Director have been extremely diligent in maintaining, streamlining and even improving services to members with limited and diminished resources. The future seems uncertain, and creates concern for our Board and our members. But the future is also shaped by us — by our ideas, by our vision, by our commitment, by our effort and by our support. I foresee these energies being carefully focused on where we have been, where we are now, and where we would like to go. Our AIP 26 Conference in Tokyo, Japan, in conjunction with the UIA, and many other international groups and practitioners, can only be a positive reintroduction to the world community and bodes well for our first step into the next quarter century. Thanks to all of you who have so fervently supported this Society. We look forward to the next 25 years, in helping to shape the who, the what, the when, and the where of creating, exhibiting and refashioning architectural illustration and ASAI.
2011
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DE S IG NATE D ARTIST S
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S HOJI AMANO Loikrathong/Thailand Shoji Amano Digital Paraiso_th@me.com
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RAY B E N N E T T Joy of a Toy Ray Bennett Digital Rbennett@rtkl.com
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LARRY C URRE N C E Condo Interior Larry Currence Digital, 14.22” x 10.67” L.currence@verizon.net
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F RA NK M . COSTA NTI NO Israeli Government Competition | Jerusalem, Israel Moshe Safdie & Associates Watercolor, 12” Diameter Frankmc@fmcostantino.com
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ELIZABET H A. DAY City of Austin Downtown Master Plan | Austin, Texas McCann Adams Studio Watercolor, 11.5” x 16” Eday@elizabethday.com
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W I L SO N D EO M A M P O Grand Hyatt, Lijiang | Lijiang, China JWDA/Shanghai Digital, 11” x 17” Wilddesign_intl@rocketmail.com
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JA ME S D OUGH E RTY South Gilbert Street | Iowa City, IA, USA Dover, Kohl & Partners Watercolor, 6” x 12” Jdougherty@doverkohl.com
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NATA LI YA ELI SEEVA Private House DACHA | Russia Nataliya V. Eliseeva Graphite & Colored Pencil, 18” x 12” 2014767@mail.ru
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JIM FAECKE Lakehouse Jim Faecke Watercolor, 10” x 18.5” Jim@jamesfaeckellc.com
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A NT H O N Y G RA N D Sacramento Community Theater Competition Sacramento, CA, USA ELS Architecture & Urban Design Black Wax Pencil on Trace, 5.5” x 10” Grandvutz@sbcglobal.net
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DIAN A G RI G O RYA N Earl Swensson Associates Riverside Regional Medical Center Newport News, VA, USA Earl Swensson Associates, Inc. Digital, 15” x 10” Dianag@esarch.com
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TOMOKO HAGITSUKA | Hagi Persroom A Convention Hall Project Watercolor Hagi-pers@k2.dion.ne.jp
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NO BU YAS U HARAS HIMA | Kume Sekkei N Project Nobuyasu.harashima@kumesekkei.co.jp
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RICHARD MULLEN Gibson Dam Hydro Powerhouse Choteau, MT, USA Whitewater Engineering Watercolor, 20” x 11” Rick@presentationart.com
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JO HN A . H AW K I N S A I A Bon Secours Hospital | VA, USA Kathy Helm & Associates Digital, 8” x 10” John.hawkins@koverthawkins.com
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M A RC L’ I TA LI EN | EHDD Architecture Exploratorium, Piers 15/17 | San Francisco, CA, USA Marc L’Italien / EHDD Architects Ink on Trace, 14” x 11” M.litalien@ehdd.com
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PAUL STEVENSON OLES FAIA 1600 City Lights | Santa Fe, NM, USA Paul Stevenson Oles, FAIA Digital (PhotoShop), 22” x 27” Steveoles@gmail.com
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DAN IE L PISANIE L LO Montour High School and District Administration Office McKees Rocks, PA, USA Apostolou Associates, Inc. Digital Dp@apostolouarchitects.com
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JOS H UA RI VE RA 12th & Burnside | Portland, OR, USA KTGY Group Inc. Digital, 22” x 42” Jrivera110@roadrunner.com
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THOM A S SC HM I DT A I A Adhesive Tape Corporate Headquarters Digital Tschmidt@netvigator.com
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JA SO N A NSC HEL DAV I D S HI RRI FF Tower in Zabeel Park | Dubai, UAE Jason A. D. Shirriff Hand Drawn Ink on Paper, 19” x 24” Jshirriff@earthlink.net
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JOSE P H S K IB BA Saxony Village/Fishers, IN, USA Urban Design Associates Ink Line with Digital Color, 12” x 18” Joeskibba@gmail.com
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JA ME S C. SMITH Northerly Island | Chicago, IL, USA James C. Smith Mixed Media, 24” x 36” Studiojs@sbcglobal.net
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DI C K SNEA RY 2009 Yellowstone Charrette: Old Faithful Complex Yellowstone National Park, WY, USA Olin Partnership / Susan Weiler Watercolor & Graphite Pencil, 11.28” x 8.4” Rsneary@kc.rr.com
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MAT T SWAIM Four Points Sheraton | Jacksonville, FL, USA ENB Architects Mixed /Traditional, 22” x 10.5” Matt@studioswaim.com
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SERG E I E . TC H O BA N Tableau Sergei E. Tchoban Pencil, India Ink & Watercolor, 12.2” x 15.75” Berlin@npstv.de
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MATT VA LE RO Victory Theatre | Holyoke, MA, USA Durkee Brown Viveiros & Werefels Digital, 13.3” x 9” Mvalero@durkeebrown.com
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M I C HA EL TURSKI FIFA Flagship Store / Global Saunders Global / Danilo Baltrame Digital Michael@3darchitecture.com.au
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Born in Tokyo and raised in Nagoya, Masaaki Yamada graduated from Nagoya University of Art in 1982, with degrees in fine art. Masaaki is a partner in Nikken Sekkei in Tokyo, Japan’s largest architectural and engineering firm. With more than 2,500 employees, Nikken Sekkei has been involved in over 20,000 projects in some 40 countries, in both the public and private sectors. As a Chief Illustrator and Director of the presentation section at Nikken Sekkei, Masaaki heads a 40-member team, which he encourages to be more competitive and to focus on the latest techniques.
Masaaki has successfully negotiated for ASAI to participate in the International Union of Architects (UIA) Congress Tokyo 2011. The week-long event will allow ASAI and UIA delegates to participate in each other’s programs. Included in the Congress will be the largest international exhibition of architectural illustration ever held, featuring AIP 26 (ASAI) and exhibitions from Japan (JARA), Korea (KAPA), Australia (AAAI), the United Kingdom (SAI), the Philippines (PHAAR) and China. Masaaki has been a member of ASAI since 1995 and many of his illustrations have received AIP Awards, including a Juror’s Award in 2009.
Tamotsu-Thomas (Tom) Yamamoto is a charter member of ASAI. He was a participant in the “first four-hour renderers’ exhibition” in Boston in 1984. Since then, he has served the Society in a number of capacities: as a member of the committee that established the first ASAI By-Laws; Treasurer (two terms), a member of the Executive Board; international coordinator, establishing relationships with the Far East; Vice President; and President. Tom has been instrumental in helping ASAI to become an international organization.
Tom earned an MFA degree from Kyoto City University of Fine Arts, affiliated with the Center for Advanced Visual Studies at MIT. He studied at Boston Architectural College and the Museum School of Fine Arts, Boston.
Stewart is a nationally recognized fine artist in watercolor with countless awards in that field. He has worked in some form of art services for over 25 years under the business name of Stewart White Studios. He currently serves as a Senior Associate at the Baltimore-based firm Design Collective providing design and renderings in tandem with the firm’s design process. His style of illustration serves as a unique brand identification for the firm in presentations and marketing.
He has been represented in Architecture in Perspective in the years 1989, 1990, 2008 (Jurors Award), 2009, 2010 and is currently serving as Vice President on the Board of ASAI.
MA SA A K I YA MA DA , President
While he practices “Yamamoto Architectural Illustration,” he has been teaching Design Studios, Geometry and Design Communications in colleges in the Boston Area. He is currently a tenured fullprofessor at the Mount Ida College and adjunct professor at the Suffolk University in Boston.
TAMOTSU YAMAMOTO, President Emeritus
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STE WA RT W H I T E, Vice President
AMERIC AN SOCIE T Y OF ARCHITEC TU R AL ILLUSTR ATOR S
He graduated with honors at University of California Berkeley with a BFA and a minor in Art History. Steward mentors high school students in architectural illustration and currently serves on the board of the Mid Atlantic Plein Air Painters Association.
A S A I B OA R D M E M B E R S
MAT T SWA IM , Treasurer
Matt Swaim was born and raised in Auburn, Alabama. Upon receiving a scholarship from the Savannah College of Art and Design (SCAD), he left Auburn to pursue his degree in the field of illustration. Graduating from SCAD in the spring of 1995, he joined ASAI (then ASAP) as a student member and, shortly thereafter, was offered a position as an architectural illustrator with Winterstudio in Jacksonville, Florida, a position which he held until becoming the company’s president 2001.
to conduct workshops and mini-workshops in perspective, rendering, and sketching.
In 2006, Matt departed Winterstudio to open StudioSwaim, which focuses on hand-rendered and hybrid architectural illustrations for clients throughout the United States. He is chairman of the Plein Air Studio Committee for the Florida Chapter of The Institute of Classical Architecture and Art (ICA&A). Matt has been invited by organizations and institutions
Matt’s work has earned many awards. He has been featured in AIP 20 to AIP 25 and earned the Award of Excellence in AIP 23. In 2010 he was awarded the Linda Mack award by the Jacksonville chapter of AIA. This award, in memory of a former ASAP member and Jacksonville illustrator, is granted to an individual within the architectural community whose drawing ability, rendering talent or artistic endeavors enhances the promotion of architecture to the community. Matt is an avid sketcher and a member of urbansketchers.com and, when not behind the drawing board, he can usually be found in a lawn chair, sketchbook in lap, at his son’s little league baseball events or his daughter’s teeball or gymnastics activities.
Nancy Opsata is a registered nurse who has worked in psychiatry for 35 years, managing a day patient program for patients with severe depression, and leading daily therapy groups, patient education groups and, at times, art therapy groups. She joined ASAI in 1997, seeking a career change to architectural rendering and hoping to find guidance from ASAI toward this goal. She has a BS in Nursing from the University of Washington, a Master of Public Administration degree from Golden Gate University and an Interior Design Assistant certificate from
University of California, Santa Cruz, which included an internship with fellow ASAI member, Bill Hook. Nancy has served on a number of volunteer boards, including the Youth Orchestra for Monterey County, Youth Music Monterey, and the Association for Ambulatory Behavioral Healthcare of Northern California. Now retired from nursing, she continues to study art, enjoys a weekly plein air painting class with Carmel artist Mark Farina, and has continued to produce a small number of renderings each year.
Dale Watson is from South Carolina. He joined the Army right out of high school and served as a paratrooper for three years. After the military he attended Trident Technical College and the College of Charleston. He worked several years as a draftsman for the firm of Tucker Architectural Associates before beginning his illustration studio in the mid 1980s.
Dale offers both traditional hand-drawn and digital hybrid renderings, and charrette services. He enjoys being involved in the whole design process, from early concept sketches to the finished presentations. He lives in the Charleston, SC area with his wife Ann, a teacher, and has two children, Matthew and Samantha.
NA N CY O P SATA , Secretary
DA LE WATSO N, Member-at-Large
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RICHARD BROOKS FERRIER FAIA (1944–2010)
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Richard Ferrier, whose life ended on the 4th of August 2010, was known to his legion of friends as many things. He was an architect and interior designer of significant accomplishment, a respected and beloved university professor and mentor, a superb practitioner of the elusive art of watercolor and the inventor of a remarkable genre of architectonic drawing which is instantly recognizable to everyone in the field. Less known to some of us was the fact that he was a professional country singer and songwriter, an early colleague of John Denver, and had a devoted following. AMERIC AN SOCIE T Y OF ARCHITEC TU R AL ILLUSTR ATOR S
IN MEMORIAM
He was a Texan through and through. Not the swaggering, tall, testosteronic Texan that comes to mind as a stereotype, but very much to the contrary, a sensitive and politically liberal “mensch”, with a generosity and kindness which was — even to those who knew and loved him — unique. Richard was born in Fort Worth, and died in Irving, near Dallas. His high school as well as college education was in Lubbock, where he received, in 1968, his Bachelor of Architecture from Texas Tech University, which eventually named him College of Architecture Alumnus of the Year. Four years after his undergraduate degree he was granted a Master of Arts degree from the University of Dallas. Immediately following his graduation from Texas Tech, he became a teacher at the University of Texas at Arlington, where he eventually became a full professor and associate dean — and a member of the UTA Academy of Distinguished Teachers. In addition, he contributed significantly to the curricula of other Texas educational institutions, including the University of Houston and Prairieview A&M School of Architecture, as a visiting professor and critic. He was a Fellow of the American Institute of Architects, and an active member of the Texas Society of Architects. His list of design and drawing awards is so long that it requires condensation: briefly, nine AIA Dallas Design awards, 48 Ken Roberts Memorial Delineation medals, 12 Texas Architect Graphics Competition awards and — closer to home — 10 American Society of Architectural Illustrators AIP catalogue selections, including two in one year, and an Award of Distinction in AIP 10. Richard’s initial involvement with and continual avid support of ASAP (later ASAI) began in 1985, even before the official founding of the Society; his earliest selected drawing appeared in the very first Architecture in Perspective catalogue and exhibition. The honors accorded his work by successive AIP juries were among the most important to him of all the many awards in his extensive “trophy case.” His remarkable skill in watercolor painting received the attention of the AIA, which includes many examples of his work in their National Archives Drawing Collection. Other examples
reside in the permanent drawing collection of the University of Houston. Additional work is housed permanently in the architectural drawing archives of the United States Library of Congress. In the field of publishing, many periodicals, including Texas Architect, Visionary Architecture, Texas Homes, Interiors Magazine and Architectural Record, often showcased his work. Ferrier co-edited the Architecture Merit Badge Handbook for the Boy Scouts of America, which includes many of his original drawings. He contributed also to publications including Compact Houses, Axonometric Drawing and The Art of Architectural Drawing. As an architect, Richard Ferrier founded the Arlington-based FIRM X, which was responsible for the design and construction of a number of innovative, award-winning residential projects. It also allowed him to act as a mentor to recently graduated students and others who needed assistance — professional, personal and even financial. He never shrank from providing such help to many who will always remember him as a paragon of kindness, empathy and generosity. For many years, Richard was fascinated with the ancient pueblo architecture and archaeology of the Southwest, especially that of the Anasazi civilizations. Consequently he became, toward the end of his life, one of the dozen or so eminent authorities on that subject, focusing particularly on the ancient culture and architecture at Chaco Canyon. Every spring for a number of years he organized a popular multi-day, for-credit, learning excursion with his students to the four corners area of New Mexico, Colorado, Utah and Arizona. The field trip last May will remain the final one, until someone else continues that worthy tradition. Richard’s talent, intelligence, kindness and wit will be missed enormously, and for a very long time by many of us in the architectural, illustration and teaching communities, but also especially acutely by the faculty, classmates and alumni of his beloved undergraduate school, Texas Tech, to which he brought so much credit and honor. — PAUL STEVENSON OLES , ASAP (now ASAI) co-founder
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M A KOTO A BE PDSystem 1-2-3, 20th Floor, Shibaura Minato-ku, Tokyo 105-0023 Japan m.abe@pdstk.co.jp www.pdstk.co.jp
SCOT T BAU MBERGER Baumberger Studio 3226 NE 45th Ave. Portland, OR 97213 USA scott@baumbergerstudio.com www.baumbergerstudio.com
NATSUM I AI BA 3-10-10-3-3E Kamata Ota-ku, Tokyo 144-0052 Japan natsumi_2000@hotmail.com
BRENDA L. B ECHT EL Brookside Studio & Gallery 164 Parker Rd. W. Barnstable, MA 02668 USA aurorablb@yahoo.com www.angelfire.com/art2/brookside
DENNI S ALLA I N Architecture Design Illustration 50 Fairview Rd. Lynnfield, MA 01940 USA dennis@dennisallain.com www.dennisallain.com S HOJ I AM A NO 1-9-22-304 Naka Meguro Meguro-ku, Tokyo Japan paraiso_th@me.com www.ng.dion.ne.jp/~paraiso MI C HA EL ANDERSO N Michael Anderson Studio 22 Howard Dr. Belleville, IL 62223 USA mike@michaelandersonstudio.com www.michaelandersonstudio.com JA M ES A RCHER James Archer Architect 514 SW 7th St. Ft. Lauderdale, FL 33315 USA jnaarcht@bellsouth.net C HI E A SA I Nikken Sekkei 4-15-32 Sakae Naka-ku, Nagoya 460-0008 Japan asaic@nikken.co.jp www.nikken.co.jp MATTHEW BA NOW Matt Banow Design 24 Spillane Hill Rd. South Berwick, ME 03908 USA matt@banowdesign.com www.banowdesign.com RI C K BA RC ELOW Barcelow Illustration, Inc. 1919 7th St Boulder, CO 80302 USA rick@barcelow.com www.barcelow.com
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LESLI E BA RKER L.H. Barker 331 Ridge Rd. Queensbury, NY 12804 USA les_barker@lhbarkerstudio.com www.lhbarkerstudio.com FRA N K BA RTUS Genesis Studios Inc. 465 Maitland Ave. Altamonte Springs, FL 32701 USA frankbartus@genesisstudios.com www.genesisstudios.com
RO BERT B ECKER Robert Becker, Inc. 53 Parklane Dr. Orinda, CA 94563 USA robert@robertbecker.com www.robertbecker.com SCOT T BELL Bell Enterprises 3160 20th St. N Arlington, VA 22201-5134 USA scott@bellenterprises.com www.bellenterprises.com RAY BENNET T RTKL Associates 1717 Pacific Ave. Dallas, TX 75201 USA rbennett@RTKL.com www.rtkl.com JAROS LAW BIEDA HOK 3223 Grace St. NW Washington, DC 20007 USA jaroslawb@gmail.com AU DRA BIEDIGER AFB Design 448 Silver Buckle Schertz, TX 78154 USA abiediger@hotmail.com DANIEL BO HLEN RMCAD 1600 Pierce St. Denver, CO 80214 USA dfbohlen@yahoo.com ERIC BRIGHT FIELD ImageFiction, Inc. 221 North LaSalle, Ste. 1510 Chicago, IL 60601-1307 USA eric@imagefiction.com www.imagefiction.com MARS HA BROWN Marsha Brown Studio PO Box 6031, Station A Toronto, ON M5W 1P4 Canada mb@marshabrown.ca www.marshabrown.ca MICHAEL R B RYA NT SWBR Architecture, Engineering & Landscape Architecture 387 East Main St. Rochester, NY 14604 USA mbryant@swbr.com
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WILLIAM BRYSO N PO Box 624 Oxford, MS 38655 USA 2pointperspective@gmail.com HERMAN BULOS 22149 SW 88th Path Cutler Bay, FL 33190 USA h_bulos@hotmail.com S ERGEY BULYN I N 1255 McNeil Woods Place Altamonte Springs, FL 32714 USA bulynin@gmail.com BIN CAO RTKL Associates 1717 Pacific Ave. Dallas, TX 75201 USA bcao@rtkl.com NEIL CAPAN G PA N G A N 2468 Saluda Dr. NW Acworth, GA 30101 USA neilcapz@aol.com WENJIE C HE N Wenjie Studio 28882 Walnut Grove Mission Viejo, CA 92692 USA wenjie@wenjiestudio.com www.wenjiestudio.com RICHARD CH E N OW E TH Chenoweth Architecture 38 Jefferson Rd. Princeton, NJ 08540 USA rc@chenarch.com www.chenarch.com MICHAEL CH I SA M O RE The University of Memphis Department of Architecture 404 Jones Hall Memphis, TN 38152 USA mkchsmre@memphis.edu KYU-BEO M C H O I Adelium Apt. #206-801 Im-Dong, Buk-Gu, Gwang-Ju 500-010 Korea chon9suk@naver.com W. DANIEL CH URC H Church Associates 200 Browns Lane Louisville, KY 40207 USA wdanchurch@aol.com C LEM CIZEWS K I Clem Cizewski, 3rd design (CC3D) 535 Hughes Rd. King of Prussia, PA 19406 USA clemcizewski@comcast.net C HAD CLARY Studio A Architecture 1106 E. Burnett Ave. Louisville, KY 40217 USA chad@clarydesign.com www.clarydesign.com T IMOT HY CLI N E F E LTE R TCL Enterprize 8226 S. Poplar Way, #R-106 Centennial, CO 80112 USA tim.clinefelter@gmail.com
M E M B E R D I R E C T O RY
VA N C E CO G D E L L The Haskell Company 111 Riverside Ave. Jacksonville, FL 32202 USA vance.cogdell@haskell.com www.haskell.com SCOTT N COLLARD ASLA RLA Stantec 22 Tree St., Suite 205 Portland, ME 04101 USA scott.collard@stantec.com
ELI Z A BETH DAY 4 Westgate Circle Austin, TX 78746-5538 USA eday@elizabethday.com www.elizabethday.com A NGELO DE CA STRO Angelo de Castro, LDA Rua do Alto da Milha 50-A Sao Joao do Estoril, 2765-297 Portugal angelo@adecastro.pt www.adecastro.pt
CORY CO L L IN S Core Renderings 4604 Fairfax Dr. NW Unit B Albuquerque, NM 87114 USA cory@corerenderings.com www.corerenderings.com
LOHREN DEEG 125 E. Charles St., Ste. 116 Muncie, IN 47305 USA lohren@thestudiothree.com pbase.com/archetype/drawings
MEL ISSA CO L SO N 1217 Brafforton Ct. Tallahassee, FL 32311 USA info@melissacolson.com www.melissacolson.com
DA NNY DEM OLI N Demolin Illustrations 1458 Glencoe St. Denver, CO 80220 USA dannydemolin@yahoo.com
F RAN K COSTA N T I N O F. M. Costantino, Inc. 13-B Pauline St. Winthrop, MA 02152 USA frankmc@fmcostantino.com www.fmcostantino.com
WI LSON DEOM A MPO W B Deompampo Inc. 4533 MacArther Blvd., Ste. 193 Newport Beach, CA 92660 USA wilddesign_intl@rocketmail.com
C I NDY COX Open Air Architecture 2162 Brookview Dr. NW Atlanta, GA 30318-1610 USA open_air@bellsouth.net T RAV I S C ROW TBG Partners 901 South Mopac, Bldg 2, Ste 350 Austin, TX 78746 USA travis.crow@tbg-inc.com www.tbg-inc.com DAV I D R . C SO N T Urban Design Associates PC 707 Grant St., Floor 31 Pittsburgh, PA 15219 USA david.csont@urbandesignassociates.com www.urbandesignassociates.com L AR RY C U R R E N C E 3904 8th St. NW Washington, DC 20011 USA l.currence@verizon.net FA B R IZ IO CA ROZO C UTURI MVD arch architectural rendering 9 rue Coiffard Bordeax, 33200 France fcarozo@mvd-arch.com www.mvd-arch.com C J DAV I S 4065 N. Redwood Ave. Rialto, CA 92377 USA daviscj1@gmail.com WI L L IA M DAWSO N William H. Dawson Architectural Illustrator 9 Fieldcrest Court Cortlandt Manor, NY 10567 USA aloha47@optonline.net
T ERRY E. DEW I TT Terry E. DeWitt, AIA 5210 Dunnellon Memphis, TN 38134 USA tde5210@aol.com CHRI STI NA DI TTO Student/George Washington University 2301 Columbia Pike, #629 Arlington, VA 22204 USA ottidanitsirhc@hotmail.com K ENNETH DI V I TO DiVito Illustrations 4347 Devonshire Troy, MI 48098-6651 USA kendivito@msn.com JERRY DOKKEN Real Estate Graphics 2154 South Jason St. Denver, CO 80223 USA studio@realestategraphics.net www.realestategraphics.net JOHN DOL LUS 9801 Victorian Ct. Dallas, TX 75243 USA jdollus@gmail.com LUI S DORA DO VisualCAD 17302 Chatsworth St., #6 Granada Hills, CA 91344 USA luis@visualcad3d.com www.visualcad3d.com JA M ES DOUGHERTY Dover, Kohl & Partners Town Planning 1571 Sunset Dr. Coral Gables, FL 33143 USA jdougherty@doverkohl.com www.doverkohl.com
JAMES S . DO U GLAS RLPS Architects 1910 Harrington Dr. Lancaster, PA 17601 USA jdouglas@rlps.com www.rlps.com
FORREC LTD. 219 Dufferin Street, Ste 200C Toronto, ON M6K 3J1 Canada tbrown@forrec.com www.forrec.com AL FORSTER Al Forster Architectural Illustrator PO Box 326 The Sea Ranch, CA 95497 USA al@afai.biz
L EE D U NNET T E Lee Dunnette AIA 3568 Byrd Ave. Allentown, PA 18103-5350 USA lee@leedunnette.com www.leedunnette.com
GLENYS FOSTE R 5 Mitchell St. Seaford, Victoria 3198 Australia admin@rrgroup.com.au
TIMOT HY EATO N-KO CH 45 Lockwood Rd. Riverside, CT 06878 USA teatonk@g.risd.edu
MARK FRAN K M A N N Open Range Imaging PO Box 330 Telluride, CO 81435 USA markf@openrangeimaging.com www.openrangeimaging.com
MARIE ELDRIDGE Eldridge Design Partnership Inc. 6932 Bow Cres. NW Calgary, AL T3B 2B9 Canada marie@architecturalillustrations.cc www.architecturalillustrations.cc NATALIYA ELIS EEVA Protopopovsky per., 17-3 Moscow, Russian Federation 129010 Russia 2014767@mail.ru SCOT T ERSTAD 3722 Ross St. Madison, WI 53705 USA srerstad@yahoo.com
PHILLIP FRE E R Freerthinking 2873 Eight Mile Rd. Cincinnati, OH 45244 USA freerarts@fuse.net www.freerarts.com KIRK FROMM Kirk Fromm design + illustration 2000 Hamilton St. #864 Philadelphia, PA 19130 USA kirk@kirkfromm.com www.kirkfromm.com
IAN ES PINOZA Ian Espinoza Associates PO Box 93545 Pasadena, CA 91109 USA ian@ianespinoza.com www.ianespinoza.com
RO BIN FRY E Frye Associates 2874 Ridgedale Dr. Lewisville, TX 75087 USA rfrye@fryeassociates.com www.fryeassociates.com
ST EPHEN EVANU SA Perkins Eastman 115 5th Ave. New York, NY 10003 USA s.evanusa@perkinseastman.com
MASATOS H I F UJ I M OTO kk. Kenchikusekkei Fujimoto 19-7 Sho Shikito-cho Himeji, Hyogo 671-0218 Japan fujimoto@box.email.ne.jp
JIM FAECKE 2315 Rugby Row Madison, WI 53726 USA faecke@sbcglobal.net
SHUJI FU NAB I K I Nikken Sekkei 4-10-6-204, Nishitenma Kita-ku, Osaka 530-0047 Japan funabiki.shuji_sd@nikken.co.jp www.nikken.co.jp
GRAHAM FAHYE 3204 Morning Glory Court #104 Palm Beach Gardens, FL 33410 USA gfahye@hotmail.com
ATS U S HI FURUYA M A Nikken Sekkei 4-15-32, Sakae Naka-ku, Nagoya 460-0008 Japan atsushi.furuyama@nikken.co.jp www.nikken.co.jp
PAU L FARQ U HARSO N Paul Farquharson Architectural Design+Presentation 319 Hickory St. Milford, MI 48381 USA paul@farquharsonstudio.com
RO NALD GA RN E TT The Haskell Co. 11635 Sedgemoore Dr. S. Jacksonville, FL 32223 USA Ron.Garnett@haskell.com
F RANK J OS EP H FILARDI FJF Illustrations 9 South Linden Ave. Upper Darby, PA 19082 USA Fjkf3@aol.com
GREG GEFFE RT Greg Geffert Graphics 300 Mumford Dr. Columbia, MO 65203 USA greggeffert@yahoo.com www.greggeffert.com
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JESSI CA GEM ELLA Gemella Design 310 Fitzwilliam St. Nanaimo, BC V9R 6H3 Canada jessica@shawbiz.ca www.gemelladesign.com
JANE GREALY Jane Grealy & Associates 124 Terrace St., New Farm Brisbane, QLD 4005 Australia jane@janegrealy.com.au www.janegrealy.com.au
JO NAT HAN H A RRI S Demo38 Ltd. 6804 Collingwood Dr. Westerville, OH 43082 USA demo38@demo38.com www.demo38.com
JEF F REY MI C HA EL GEORGE 18581 Jayhawk Dr. Penn Valley, CA 95946 USA jmgeorge@ix.netcom.com www.jeffreymichaelgeorge.com
PET ER GREALY Pogo Digital Level 1, 143 Charlotte St. Brisbane, QLD 4000 Australia peter@pogodigital.com.au www.pogodigital.com.au
A NDREW H A RTN E SS HartnessVision LLC 429 Huron Ave. Cambridge, MA 02138 USA ah@hartnessvision.com
BREEZ E GI A NNA SIO 616 E St. NW 1020 Washington, DC 20004 USA breeze@breezegiannasio.com NI GEL GI LBERT The Coach House 495 Abergele Rd. Old Colwyn, Conwy LL299AE UK nigel@gilpics.com www.gilpics.com P HI LI P GI L L 4464 Campus Ave. San Diego, CA 92116 USA philipgill@gmail.com P ETER GI RAUDEAU Clark Nexsen 213 South Jefferson, Ste. 1011 Roanoke, VA 24011 USA petemin2@yahoo.com J ONATHA N GOL DEN Handigitous 193 Baboosic Lake Rd. Merrimack, NH 03054 USA handigitous@gmail.com GI LBERT GORSKI Gorski & Associates 51315 Stoney Brooke Dr. Granger, IN 46530 USA gilgorski@aol.com www.gilgorski.com NI GEL GOUGH 81 Constellation Way Brisbane, QLD 4178 Australia nigel@nigelgough.com www.nigelgough.com LI NSEY GRAC E 552 Oak Meadow Lane, Apt. 1 Auburn, AL 35830 USA linseycloud@gmail.com www.linseygrace.com
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A NTHONY GRAN D ELS Architecture & Urban Design 964 A Cornell Ave. Albany, CA 94706 USA grandvutz@sbcglobal.net CA RLOS GRA N D E Hypertecture 190 North 10th St., Ste 304 Brooklyn, NY 11211 USA cgrande@hypertecture.com www.hypertecture.com
BARRY GRIBE Burt Hill 650 Smithfield St., Ste 2600 Pittsburgh, PA 15222 USA barry.gribe@burthill.com www.burthill.com GO RDO N GRICE Gordon Grice & Assoc. 65 Old Mill Dr. Toronto, ON M6S 4J8 Canada ggrice@interlog.com DIANA GRIGO RYAN Earl Swensson Assoc. 2100 West End Ave., Ste. 1200 Nashville, TN 37203 USA dianag@esarch.com C HRISTO PHER GRU BBS Christopher Grubbs Illustrator 601 4th St. #112 San Francisco, CA 94107 USA chrisagrubbs@comcast.net TO M GU LLET T E TGAI 739 Last Arrow Dr. Houston, TX 77079 USA gullettearchillus@sbcglobal.net tgullette.com TO MO KO HAGI Z U KA Hagi Pers room 2-14-6-201 Tomigaya Shibuya-ku, Tokyo 151-0063 Japan hagi-pers@k2.dion.ne.jp TO MOAKI HAMANO Nikken Sekkei 2-18-3 Iidabashi Chiyoda-ku, Tokyo 102-8117 Japan tomoaki.hamano@nikken.co.jp www.nikken.co.jp KAT HLEEN HANSO N Hanson Architectural Illustration PO Box 1563 Driggs, ID 83422 USA kathleen@hansonrendering.com NO BU YAS U HARAS HIMA Kume Sekkei 5-2-8 Nishi shizu Sakura, Chiba 285-0845 Japan Nobuyasu.Harashima@kumesekkei.co.jp www.kumesekkei.co.jp J. RYAN HARBERT 2606 24th Lubbock, TX 79410 USA ryan.redyucca@yahoo.com www.redyuccadesigngroup.com
AMERIC AN SOCIE T Y OF ARCHITEC TU R AL ILLUSTR ATOR S
KAZU O HAS EG AWA K.A. Design 3-25-15-1001 Aoi Higashi-ku, Nagoya 461-0004 Japan k.hasegawa@tg.commufa.jp www.5-pallette.net S HU HEI HA S H I M OTO 6-6-16-405, Higashitoyonaka-cho Toyonaka, Osaka 560-0003 Japan sh_stars@hotmail.com www.nikken.co.jp JO HN A. HAW K I N S , A I A Kovert Hawkins 630 Walnut St. Jeffersonville, IN 47130 USA john.hawkins@koverthawkins.com RIC HELDT A&E Architects, P.C. 608 North 29th St. Billings, MT 59101 USA rheldt@aearchitects.com www.aearchitects.com KENNET H H E N LE Y Earl Swensson Assoc. 2100 West End Ave., Vanderbilt Plaza Nashville, TN 37203 USA kenh@esarch.com LU C HERBOTS 2865 Governors Run Rd. Port Republic, MD 20676 USA luc@lucherbots.com A NDY HICK E S Rendering.net 303 W. 29th St. New York, NY 10001 USA andy.hickes@verizon.net www.rendering.net DEBO RAH HI C KSO N Architectural Graphics 704 Rihely Pl. Encinitas, CA 92024 USA deborahhickson@email.com WILLIAM H O O K WG Hook 815 Western Ave. #301 Seattle, WA 98104 USA wghook@earthlink.net MIKE HO PPE R Hopper Design & Illustration 2910 Jefferson Ave. Eugene, OR 97405 USA hopperdesign@comcast.net
M E M B E R D I R E C T O RY
L A I H UAYU CrystalCG, Shanghai 1058 Kaixuan Rd. Changning, Shanghai 200052 China info@crystalcg.co.jp www.crystalcg.com MA R IA H U G H E S Focal Point Design 2346 South Zephyr Way Lakewood, CO 80227 USA maria@fpointdesign.com www.fpointdesign.com H OWA R D HU IZ IN G 145 N. Harwood St. Orange, CA 92866 USA houseguardorange@yahoo.com J O H N H U M P H R IE S Miami University 7292 Ipswich Dr. Cincinnati, OH 45224 USA albatrossjim@mac.com www.albatrossjim.com B R EN T H U N TL E Y 1330 Angus Rd. Helena, MT 59602 USA brent.huntley@msu.montana.edu H I RO K I I K E DA Nikken Housing System 1-4-27 Koraku Bynkyo-ku, Tokyo 112-0004 Japan hiroki.ikeda_nhs@nikken.co.jp www.nikken-hs.co.jp YOSH I A K I I K E DA PDSystem 1-2-3, 20th Floor, Shibaura Minato-ku, Tokyo 105-0023 Japan y.ikeda@pdstk.co.jp www.pdstk.co.jp GARY M . I R IS H Gary Irish Graphics Old Pilgrim Trail Marshfield, MA 02050 USA girish@aol.com www.garyirishgraphics.com WO O N B O N G JA N G Is Tower, Apt. 621 Seocho-Dong, Seocho-gu, Seoul, Korea jag1504@nate.com
DEV I N JOHNSTON Kirksey 6909 Port West Dr. Houston, TX 77024 USA devinj@kirksey.com
HELMU T KIENTZ Hixson 659 VanMeter St. Cincinnati, OH 45202 USA hkientz@hixson-inc.com
GRAN T JONES 3303 Cantera Way Round Rock, TX 78681 USA grantbj@neo.tamu.edu
BRU CE KIMBALL Kimball & Co. 31233 N. 69th St. Scottsdale, AZ 85262 USA bruce@kimballsketch.com
Z HAO JUN PENG Crystal CG, Shanghai 1058 Kaixuan Rd. Changning, Shanghai 200052 China info@crystal.co.jp www.crystalcg.com TOSHI RO KA M EZ AKI KEY Design 7-12-1102 Fujimicho Naka-ku, Nagoya 460-0014 Japan Kamezaki@key-d.jp JUSTY NA ANNA KARAKIEWICZ 211/299 Queen St. Melbourne, Victoria 3000 Australia justynak@unimelb.edu.au SAVA S KA RA M PALAS IS Chrysostomou Smyrnis 9 Alexandroupolis, Evros 68100 Greece savas@3droc.com www.35roc.com TA KUJ I KA RI YA RIYA Art Associates 755-1 Hachiyado Otsu, Shiga 520-0515 Japan riya@ares.eonet.ne.jp www.kariya.jara.com RYOJ I KATO Shimizu Corporation 1-2-3, 10th Floor, Shibaura Minato-ku, Tokyo 105-8001 Japan kato_ryoji@shimz.co.jp www.shimz.co.jp WATA RU KATOH Presentation Center/Shimizu Corporation Seavans-S, No.2-3 Shibaura 1-chome Minato-ku, Tokyo 105-8007 Japan wataru.katoh@shimz.co.jp
GELU J IA N G 4504 Dalhart Rd. NW Calgary, AL T3A 1B7 Canada gelu_j@yahoo.ca
M ATTHEW KERR Zimmerman Architectural Studios 5106 N. Port Washington Rd. Glendale, WI 53217 USA matthew.kerr@zastudios.com
ANGELITO ALTARES JIMENEZ AAJ Architectural Visualization 2627 Park Dr. Abbotsford, BC V2S 4C5 Canada aajim@telus.net www.aajime.net
JI M KESSL ER Jacobs 1961 Woodland Hills Ave. NW Atlanta, GA 30318 USA jim.kessler@jacobs.com www.kesslerdesign.com
L AU RA J O H N SO N LMJ Design 701 East Bluff St., Apt. 7405 Fort Worth, TX 76102 USA lauramj2000@hotmail.com
YOUNG KI 270 Washington Blvd. Hoffman Estates, IL 60169 USA yki@3d-yki.com www.3d-yki.com
K ANAKO KURATA 4-19-7 Inogashira Mitaka, Tokyo 181-0001 Japan kurata-y@ya2.so-net.ne.jp RO BERT LAUB 430 9th Ave., #7 San Francisco, CA 94118 USA rob@robertlaub.com CALEB LAU G H LI N Cameron McCarthy 160 East Broadway Eugene, OR 97401 USA Caleb@cameronmccarthy.com www.cmgsla.com
RO BERT KIRCHMAN Kirchman Associates 77 Brookwood Rd. Staunton, VA 24401-9554 USA bob.kirchman@gmail.com www.bobkirchman.com
SARAH LAWSO N Neoscape 330 Congress St., Flr 3 Boston, MA 02210 USA Sarah.Lawson@neoscape.com www.neoscape.com
GREG KISS NER 6544 Elmer Toledo, OH 43615 USA ekissner@buckeye-express.com OSAMU KITADA Namiki Co. Ltd. 3-12-1 Narimasu Itabashi-ku, Tokyo 180-0006 Japan osamu-kitada@namiki-grp.co.jp
RO B LEANN A Painted Buildings 41 Green St. Newburyport, MA 01950 USA robleanna@comcast.net www.paintedbuildings.com
JO N KLETZIEN Studio Amd 333 Westminster St. #200 Providence, RI 02903 USA jkletzien@studioamd.com www.studioamd.com
AMY LEARMO N TH 16 Niddrie Dr. Toowoomba, QLD 4350 Australia amy.learmonth@uqconnect.edu.au CHRIS LE BLA N C Design Vision LLC 200 Renwood Circle Lafayette, LA 70503 USA cleblanc@designvis.com www.dv3d.com
ERIKA KO IZU MI PDSystem 1-2-3, 20th Floor, Shibaura Minato-ku, Tokyo 105-0023 Japan e.koizumi@pdstk.co.jp www.pdstk.co.jp
JAMES LEE S E 1030 Alderman St. Fort Myers, FL 33916 USA JLeese@mac.com
MARIKO KO MU RA Nikken Sekkei 2-18-3 Iidabashi Chiyoda-ku, Tokyo 102-8117 Japan mariko.komura@nikken.co.jp www.nikken.co.jp
GABRIEL LEG A S P I Arquitectonica 2900 Oak Ave. Miami, FL 33133 USA glegaspi@arquitectonicastudio.com www.arquitectonicaproducts.com
CHARLES S KOVAC H 333 Quail Run Rd. Venetia, PA 15367-1111 USA charles.kovach@fedex.com
SCOT T LEG E N D RE St. Johnsbury Academy 1000 Main St. St. Johnsbury, Vermont 05819 USA keepyourdrawingloose@hotmail.com www.stjacademy.org
MIKE KOWA L S KI Mike Kowalski Illustration, Inc. PO Box 237 Nordland, WA 98358 USA mkowalski@olympus.net www.mikekowalskistudio.com TAT IANA KREMLEV 2029 Jason Dr. #B Huntingdon Valley, PA 19006 USA tatianakremlev@yahoo.com
JIM LEGGITT FA I A 2212 Ash St. Denver, CO 80207 USA jim@drawingshortcuts.com www.drawingshortcuts.com
LYNNE KRIS FALU S I L. Krisfalusi Design Studio 308 David Dunlap Circle North York, ON M3C4C1 Canada lynne@lkdesign.net www.lkdesign.net
ANDREW LE W I S Neumann Lewis Buchanan Architects PO Box 1144 Middleburg, VA 20118 USA andy@nlbarchitects.com www.nlbarchitects.com
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C HEN L I A NG Crystal CG, Shanghai 1058 Kaixuan Rd. Changning, Shanghai 200052 China info@crystal.co.jp www.crystalcg.com LAURA LI NN Laura Linn Illustration PO Box 585 Hamel, IL 60246 USA laura@lauralinnillustration.com www.lauralinnillustration MA RC L’ ITA L I EN EHDD Architecture 500 Treat Ave., Ste. 201 San Francisco, CA 94111 USA marc.litalien@ehdd.com www.ehdd.com ROBI N LOC KHA RT OBM International 2600 Douglas Rd., Ste. 510 Coral Gables, FL 33134 USA rlockhart@obmi.com www.obmi.com SERGE LOSEV ArtandDesignStudios 43 Cobble Creek Dr. Tannersville, PA 18372 USA srglsv@yahoo.com www.artanddesignstudios.com A NNA LOSEVA ArtandDesignStudios 43 Cobble Creek Dr. Tannersville, PA 18372 USA aloseva@yahoo.com www.artanddesignstudios.com RON LOVE Ronald J. Love Architectural Illustration 3891 Bayridge Ave. W. Vancouver, BC V7V 3J3 Canada ronlove@shaw.ca MA RKUS LUI Markus Lui & Associates 22 Battery St., Ste. 704 San Francisco, CA 94111 USA markuslui@hotmail.com www.markuslui.com TOM MACIE preVision Company PO Box 1115 Morrisville, NC 27560-1115 USA tom.macie@previsioncompany.com www.previsioncompany.com
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CA M ERON J MACTAV I S H AIA Voith & Mactavish Architects LLP 1616 Walnut St., 24th Floor Philadelphia, PA 19103 USA talley@vma1.com www.voithandmactavish.com THOM A S MAGUIR E 8355 Peggys Cove Rd. Indian Harbour, Nova Scotia B3Z 3R2 Canada tmaguire@dal.ca
JENNIFER MAHO NEY 1170 Camelia St. Berkley, CA 94702 USA jen@candraw.net www.candraw.net BO B MAU RER bobmaurer.com, LLC 747 14th St. SE Massillon, OH 44646 USA bobmaurerartist@gmail.com www.bobmaurer.com MICHAEL MCCANN Michael McCann Assoc. LTD 2 Gibson Ave. Toronto, ON M5R 1T5 Canada michael@mccann.on.ca JOS E J. P. MENDOZA JPM Architects Studio Pacific Dr., Ecoland 3, Matina Davao City, 08000 Philippines jpmarchitects@yahoo.com LYLE MILLS Lyle Mills Architectural Illustration 38 Sanderson Cres. Richmond Hill, ON L4C 5L4 Canada lrcm1@rogers.com K ENTA MIYAKAWA Nikken Sekkei Bank of China Tower 3505 200 Yin-cheng Rd. Pudong, Shanghai 200120 China kenta.miyakawa@nikken.co.jp www.nikken.co.jp TAKEHIKO MIYAZAKI Atelier Arm 2-2-2-102, Nishihara Shibuya-ku, Tokyo 151-0066 Japan armiya@oak.ocn.ne.jp www.ar-miya.com JO HN MO O N MoonDesign 4102 South 31st St., #1200 Temple, TX 76502 USA moon@moondesign.net MARIA T. MO RGA Maria Morga Architectural Illustrator 4825 43rd St. NW Washington, DC 20016 USA mtmorga@gmail.com
PAU L N AJA RRO 15209 S. Padre Island Dr., Unit 904 Corpus Christi, TX 78418-6274 USA pnajarroIII@hotmail.com MO RITOS HI N A K A M URA Morry Art Studio 4-14-11-101 Minami Aoyama Ninato-ku, Tokyo 107-0062 Japan morry88as@yahoo.co.jp www.morry-art.com Y U KO NAKA M URA Nikken Sekkei 2-4-2-602 Kamimaezu Naka-ku, Nagoya 460-0013 Japan yuuko.nakamura@nikken.co.jp www.nikken.co.jp HISATOS HI N A K AO Nikken Sekkei 2-2-9-201 Zuiko Higashi yodogawa-ku, Osaka 533-0005 Japan nakao.hisatoshi@nikken.co.jp www.nikken.co.jp ALEKSANDE R N OVAK-ZE M P LI N KS I Biolinia 42162 Arcadia Dr. Sterling Heights, MI 48313 USA olek@biolinia.com www.biolinia.com DO N OELFK E, J R. Don Oelfke Design 2622 Newman Houston, TX 77098 USA donodesign@earthlink.net ERIC OKESON 1007 N. Marshall St., Apt. 211 Milwaukee, WI 53202 USA enokeson@uwm.edu www.eno-art.com PAUL STEVENSON OLES FAIA Interface Architects 1602 City Lights Santa Fe, NM 87507 USA steveoles@gmail.com www.psoles.com JU LIA V O ’MA LLE Y Clark Nexsen 6160 Kempsville Circle, Ste. 200A Norfolk, VA 23502 USA jomalley@ClarkNexsen.com www.clarknexsen.com
RICHARD MU LLEN Presentation Art Studio 203 W. Holly St., Ste 223 Bellingham, WA 98225 USA rick@presentationart.com www.presentationart.com
SADAAKI ON O D E RA SAI Atelier 17217-1075 Haramura Suwa-gun, Nagano 391-0115 Japan saiatl@po.lcv.ne.jp
KO ICHI NAGA HA S HI Nikken Sekkei 2-18-3 Iidabashi Chiyoda-ku, Tokyo 102-8117 Japan nagahashik@nikken.co.jp www.nikken.co.jp
TOS HIO OOI S H I Toshi Design Office 3-43-5-201 Minami Otsuka Toshima-ku, Tokyo 170-0005 Japan ooishi@design-5.com www.design-5.com/about
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NANCY OP SATA 724 Lottie St. Monterey, CA 93940 USA nancyopsata@aol.com
M E M B E R D I R E C T O RY
B EL A O R BA N Orban Design 807 Locust Ave. Charlotsville, VA 22902 USA email@andyorban.com www.andyorban.com
TA NNER PRI DDY Headstorm Studios 1721 Seminole Dr. Edmond, OK 73013 USA tanner.priddy@gmail.com www.headstormstudios.com
MASAHIKIO SAKIYAMA Nikken Sekkei 2-7-10 Shinmachi Saidaiji, Nara 631-0815 Japan sakiyama@nikken.co.jp www.nikken.co.jp
AL L I SO N O R R 1509 East Madison Ave. #204 Seattle, WA 98122 USA alliorrr@aol.com
BA RBA RA WORTH RAT NER Barbara Worth Ratner, Architectural Illustration 828 Charles Allen Dr. NE Atlanta, GA 30308 USA ratz@mindspring.com www.bwratner.com
ETS U KO SATO PDSystem 1-2-3, 20th Floor, Shibaura Minato-ku, Tokyo 105-0023 Japan etsuko.nitta@shimz.co.jp www.pdstk.co.cjp
STEP HEN W. RI C H 85 Main St. Saugus, MA 01906 USA papa71389@comcast.net
MASAKI SATO 1-6-5 Taihei Sumida-ku, Tokyo 130-0012 Japan saito@deara.co.jp
SA M UEL C . RI NGMAN Ringman Design + Illustration 325 North St. Paul St., Ste. 3800 Dallas, TX 75201 USA
THO MAS W. SCHALLER 2111 Glencoe Ave. Venice, CA 90291 USA info@twschaller.com www.twshaller.com
RO B E RTO O U Dayluxe Design Studio Inc. Unit 203, 9005 Leslie St. Richmond Hill, ON L4B 1G7 Canada dayluxe.drawings@rogers.com www.dayluxe.com WES L E Y L PAG E A IA Hanbury Evans Wright Vlattas & Company 120 Atlantic St. Norfolk, VA 23510 USA wpage@hewv.com www.hewv.com ST EP H E N PA R K E R Parker Studios Inc. 4466 West Pine Blvd., Suite 17E St. Louis, MO 63108 USA steveparker@parkerstudiosinc.com www.parkerstudiosinc.com ANN E PAT T E R SO N 1142 Rhode Island Lawrence, KS 66044 USA fivepatt@aol.com B R I A N PAWLOWS K I Dorsky Hodgson Parrish Yue 2648 Ashton Rd. Cleveland Heights, OH 44118 USA pawlowskib@gmail.com JUAN P E N A BA D Vick Center D-204 867 Munoz Rivera Ave. San Juan, PR 00925 juanpenabad@cs.com MERIK E P H IL L IP S Bill Phillips/Merike Phillips Architectural Illust. 711 61st St. Kenosha, WI 53143 USA merikephillips711@sbcglobal.net DAN IE L P ISA N IE L LO Apostolou Architects & Planners 47 Bailey Ave. Pittsburgh, PA 15211 USA dp@apostolouarchitects.com www.apostolouassociates.com JO H N N Y P IS K ITZ IS 3b, Eptanisou St. Athens, West Attica 12244 johnnypis@hotmail.co.uk www.episkitzis.com PAT R I C I A PO U N DSTONE 629 Idaho Ave. #12A Santa Monica, CA 90403 USA pattipstone@yahoo.com
JOSHUA J. RI V ERA 1000 South Catalina Ave., #310 Redondo Beach, CA 90277 USA jrivera110@roadrunner.com JENNI F ER ROBI NSO N Fiesta Kitchens 15 Summit Court Hanover, PA 17331 USA jennifer219@comcast.net www.fiestakitchens.carbonmade.com JOHN ROM A N John Roman Illustration PO Box 81 Scituate, MA 02066 USA john@johnromanillustration.com www.johnromanillustration.com JA M I E RUM I NSKI SMTPJamie Ruminski 293 Canada St. Holland, NY 14080 USA jamieruminski@gmail.com A L RUSC H Architectural Dline8r 112 Blackhawk Ct. E. Peoria, IL 61611 USA arusch@icc.edu RI C HA RD RUSH Rush Architectural Illustration 768 N. Bucknell St. Philadelphia, PA 19130 USA richard@richardrush.com www.richardrush.com DAV I D RUSSELL 4817 SE Lake Rd. Milwaukie, OR 97222 USA david.russell@res-d.com www.res-d.com YUM I SA KA I DA Elfa Architect 1-21-5 Shinmichi Nishi-ku, Nagoya 451-0043 Japan elfa@quartz.ocn.ne.jp www.elfa-architect.com
KAZU KO S HI M A DA Atelier BAKU 7-3-4-404 Hikarigaoka Nerima-ku Tokyo, 179-0072 Japan kazu@atelier-baku.jp www.atelier-baku.jp HIDEO SHIRA I Shirai Pers House 31-8-213 Honcho Wako, 351-0114 Japan shirai-p@diana.dti.ne.jp JASO N A. D. SH I RRI F F HKIT Architects 221 Farrelly Dr. San Leandro, CA 94577 USA jshirriff@hkit.com SHIN SHO K I TA Imayo Creation 10-13, Sama 1-1 Almaty, 05-0051 axel_shockie@hotmail.com
RO N SCHATZ Image Grille 164 Division St., Office 711 Elgin, IL 60120 USA rps@imagegrille.com www.imagegrill.com
JOS EP H SKI B BA Urban Design Associates 707 Grant St., 31st Floor Pittsburgh, PA 15218 USA Joe.Skibba@urbandesignassociates.com
MARCEL SCHAUFELBERGER X-Frame Limmatauweg 7 Ennetbaden, Aagau 5408 Switzerland marcel@x-frame.ch www.x-frame.com
RAEL D. S LUTS KY Rael D. Slutsky & Associates, Inc. 1405 Berkley Ct. Deerfield, IL 60015 USA r.slutsky@comcast.net
NEILL SCHEIT ER 1427 Venus St. Peters, MO 63376 USA nscheiter@drury.edu
JAMES SMI TH The Studio of James C. Smith 2156 W. Caton St. Chicago, IL 60647 USA studiojs@sbcglobal.net www.studiojs.net
THO MAS SCHMIDT AIA Sepia Design 7D, Block 1, 10 Robinson Rd. Mid-Levels, Hong Kong, China tschmidt@netvigator.com www.sepiadesign.com
KEVIN S MITH 38 N. McKinley Ave. #316 Athens, OH 45701 USA kevmarsmi@gmail.com DICK S NEA RY Sneary Architectural Illustration 9728 Overhill Rd. Kansas City, MO 64134 USA rsneary@kc.rr.com www.dicksneary.com
ALEXIS SEABRO O K 908 Roswell Glen Wilimington, NC 28411 USA pickellino@yahoo.com www.alexisseabrook.com
HENRY SO RE N SO N Sorenson Architectural Rendering 702 S. 14th Ave. Bozeman, MT 59715 USA henrys@montana.edu www.henrysorenson.com
MICHAEL S ECRIST 22 Dunkirk Rd. Baltimore, MD 21212 USA mts1@hotmail.com www.be.net/michael_secrist S U N SHENG Crystal CG, Shanghai 1058 Kaixuan Rd. Changning, Shanghai 200052 China info@crystalcg.co.jp www.crystalcg.com
JO N SO U LE S Diamond & Schmitt Architects Incorporated 384 Adelaide St. West, Ste. 300 Toronto Ontario, M5V2R7 Canada jsoules@dsai.ca www.dsai.ca
BRANDON S HIGETA 2066 W. 233rd St. Torrance, CA 90501 USA bshigeta@gmail.com www.brandonshigeta.com
L AU RINDA S P E A R Arquitectonica 801 Brickell Ave, Ste 1100 Miami, FL 33131 USA arqlhs@gmail.com
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STEV E STA NNA RD Salient Group, The 535 Oella Ave Ellicott City, MD 21043 USA SStannard2@comcast.net IA N STA NTI A L L Stantiall’s Studio Ltd. Architectural Illustration - Visualization PO Box 27, 210 Marion Square Wellington, 6141 New Zealand Ian@stantiallstudio.co.nz www.stantiallstudio.co.nz JEF F STI KEM A N Jeff Stikeman Architectural Art 12 Humphrey St. Wakefield, MA 01880 USA jeff@jeffstikeman.com www.jeffstikeman.com JOHN STI NSON 6232 S. Grady Ave. Tampa, FL 33616 USA jstinson.arch@gmail.com KOI C HI RO SUGI YAMA Pflanzshulstrasse 89, 8004 Zurich, Switzerland coney_island.516@nifty.com SONNY SULTA NI Studio Rendering, Inc. 655 W. Irving Park Rd. #3804 Chicago, IL 60613 USA Sonny@StudioRendering.com www.studiorendering.com TOSHI HI RO SUWA 4-10-19 Nishikatagai-cho Maebashi, Gunma 371-0013 Japan suwa@zephyr.dti.ne.jp www.zephyr.dti.ne.jp/~suwa MATT SWA I M Studio-Swaim Inc. 4872 Northford Pl. West Jacksonville, FL 32257 USA matt@studioswaim.com www.studioswaim.com P ETER SZ A SZ Peter Szasz Illustration 65 C Gate 5 Rd. Sausalito, CA 94965 USA peterszasz@aol.com www.peterszasz.com AYA M I TA KA DA 4-10-9-205 Kita-Shinjuku Shinjuku-ku, Tokyo 169-0074 Japan ayami.takada@gmail.com
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M ONGKOL TA NSANT IS U K Architectural Presentations 672 Grove St. Newton, MA 02462 USA tansan@tansan.biz www.tansan.biz SERGEI TC HOBA N NPS Partner Rosenthaler Strasse 40-41 Berlin 10178 Germany berlin@npstv.de www.nps-tchoban-voss.de
TIFFANI T HO MAS Savannah Illustration 10036 Caldwell Depot Rd. Cornelius, NC 28031 USA savannahillustration@hotmail.com www.savannahillustration.com
PEILI WANG Savannah College of Art & Design-Atlanta 1600 Peachtree St. NW Atlanta, GA 30309-2403 USA pwang@scad.edu www.wandwstudio.com
DAN T HO MPSO N Dan Thompson, Inc / Fine Prints PO Box 7749 Menlo Park, CA 94026 USA dan@danthompsonprints.com www.danthompsonprints.com
RO BERT WATE L Watel Design Communication 202 Parkland Ave. St. Louis, MO 63122 USA wateldesign@sbcglobal.net www.watel.com
YANG TIAN YA Crystal CG, Shanghai 1058 Kaixuan Rd. Changning, Shanghai 200052 China info@crystalcg.co.jp
DALE WATSON Dale Watson Illustrator 1376 Green Path Lane Mt. Pleasant, SC 29464 USA dale@dalewatsonart.com www.dalewatsonart.com
DAIS U KE TS U NO DA Nikken Sekkei 2-18-3 Iidabashi Chiyoda-ku, Tokyo 102-8117 Japan tsunodad@nikken.co.jp www.nikken.co.jp MICHAEL TU RS KI Michael Turski Architectural Visualisations Pty Ltd. 507 76 Roslyn Gardens Elizabeth Bay, NSW 2011 Australia michael@3darchitecture.com.au www.3darchitecture.com.au DWIGHT T YSON 9100 Visual Solutions P.O. Box 1787 Frisco, CO 80443 USA dwight@ethip.net www.ethip.net MARI UENO Armo Sekkei 6-5-30 Akasaka Minato-ku, Tokyo 107-8502 Japan ueno@armo.co.jp www.armo.co.jp MAT T VALERO Durkee, Brown, Viveiros & Werenfels Architects 111 Chestnut St. Providence, RI 02903 USA mvalero@durkeebrown.com www.durkeebrown.com MAART EN VAN DO O REN PixelPool Huijgenspark 60 The Hague, 2515 BB The Netherlands maarten@pixelpool.nl www.pixelpool.nl L EWIS WADSWO RT H IV 176 West Brookline St. Boston, MA 02118 USA contact@lewiswadsworth.net www.lewiswadsworth.net JO HN Z. WANG The Archistudio 2909 Mozart Dr. Silver Spring, MD 20904 USA archistudio@aol.com
AMERIC AN SOCIE T Y OF ARCHITEC TU R AL ILLUSTR ATOR S
JACO B WEB E R 14551 SE Vista Lane Milwaukie, OR 97267 USA jweber8@uoregon.edu I WO NA J O LA N TA W EG I E L Spector Group 220 Crossway Park West Woodbury, NY 11797 USA iwegiel@spectorgroup.com www.spectorgroup.com T IMOT HY WE LLS Timothy Wells * Illustrator 870 Market St., Ste. 1262 San Francisco, CA 94102 USA twellsillustrator@yahoo.com www.timothywells.net PET ER WEN TWO RTH -SH E I LDS 302 Main St. Ohio, IL 61349 USA peter@pwsimages.com pwsimages.com PHIL W HAL E N Hand Graphik Inc. 6800 West 48th Ave. Wheat Ridge, CO 80033 USA philwhalen@mac.com www.handgraphik.com ST EWART WH I TE Stewart White Studios.com 1501 Saint Paul St., #215 Baltimore, MD 21202 USA stewhite30@mac.com ERIC WHITI N G The Saratoga Associates 443 Broadway Saratoga Springs, NY 12866 USA ewhiting@saratogaassociates.com www.saratogaassociates.com PET ER M. WH I TM A N P. M. W, ASAI 844 Webster St., Ste. 5 Marshfield, MA 02050 USA auldreggie@gmail.com ANDRZEJ WI E LG OSZ Ul.Promienista 85/1 Poznan, Wielkopolska 60-141 Poland aawielgosz@gmail.com www.wielgosz.poznan.pl
M E M B E R D I R E C T O RY
CRAI G WIL L IA M S 312 W. Main St., Ste 300 Salisbury, MD 21801 USA cwilliams@beckermorgan.com www.beckermorgan.com BARO N WIL SO N Studio B 4802 Balcones Dr. Austin, TX 78731 USA studiob@baronwilson.com E DWARD WO N S E K Ed Wonsek ArtWorks 88 School St. Arlington, MA 02476 USA ed@edwonsekartworks.com www.edwonsekartworks.com RO M A N J O H N WO RO NOWSKI RJW Design 5865 Three Iron Dr. #104 Naples, FL 34110 USA romanjw@hotmail.com PAU L WU E N N E N B E RG 8 Grandview Trail Eureka, MO 63025 USA pjanna@gmail.com KUN IO YA M A DA Yamada Design Office 2-25-15 Hataya Atsuta-ku, Nagoya 456-0027 Japan yamadadesign@sage.ocn.ne.jp MA SA A K I YA M A DA Nikken Sekkei 2-18-3 Iidabashi Chiyoda-ku Tokyo, 102-8117 Japan yamadam@nikken.co.jp www.nikken.co.jp TA K A H IRO YA M AG A Nikken Sekkei 2-24-8-104 Yanagisaki Kawaguchi, Japan yamaga@nikken.co.jp www.nikken.co.jp TA M OTS U T H O M A S YA M A M OTO Yamamoto Architectural Illustration 15 Sleeper St. Boston, MA 02210 USA dada13@aol.com www.ttyamamoto.com TAK A S H I YA M A N E Yamane Rendering 1-21-12, Sumiyoshicho Nishi, Tokyo 202-0005 Japan info@yamane-r.com www.yamane-r.net M A SATO YA M A SA K I Nikken Sekkei 2-4-48-403 Hanakawa Nishi yodogawa-ku, Osaka 550-0023 Japan masato_yamasaki@hotmail.com www.nikken.co.jp
SHUO YA NG 502 Southwest Pkwy, Apt 402 College Station, TX 77840 USA shuoyang09@gmail.com DEA N YEATON 29 Maple St. Attleboro Falls, MA 02763 USA deyeaton@yahoo.com SI NG HWA YI P A&R Architectural Rendering 1216 148th Ave. San Leandro, CA 94578 USA singhwayip@hotmail.com KA Z UNORI YOSHIMOTO Takenaka Corporation Presentation Group 4-2-20, Tenjin, Chuo-ku Fukuoka, Fukuoka 810-0001 Japan yoshimoto.kazunori@takenaka.co.jp SHI N YOSHI M U RA MEGA Drawing 64-1-1105 Yoshida-cho Naka-ku, Yokohama 231-0041 Japan shin@mega.gr.jp K ATUM I YOSI TA NI Gallery Yoshiya 557-1 Masiguchi, Oyodo-cho Yoshino-gun, Nara 639-3123 Japan yositani_katumi@yahoo.co.jp Y UKA RI YURA PDSystem 1-2-3, 20th Floor, Shibaura Minato-ku, Tokyo 105-0023 Japan y.yura@pdstk.co.jp www.pdstk.co.jp JJ ZA NETTA Zanetta Illustration 1092 Glencoe Ave. Pittsburgh, PA 15220 USA jzanet83@yahoo.com www.zanettaillustration.com G I LA RS ZA RI NS Zarins Services, Inc. PO Box 8176 West Palm Beach, FL 33407 USA zarins@bellsouth.net www.gilzarins.com DA NI EL ZEBA L LOS Illustrate My Design 6911 Richmond Hwy. Alexandria, VA 22306 USA dezeballos@illustratemydesign.com www.illustratemydesign.com A RT ZENDA RSKI Zendarski Studio 1591 Jackson St. #2 San Francisco, CA 94109 USA art@zendarski.com www.zendarski.com
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E RI C H Z UM BRUNN EN Perkins + Will 84 10th St. S, #200 Minneapolis, MN 55403 USA erichzum@gmail.com
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A S A I CO N TAC T I N FO
To learn more about ASAI please email, call or write A S A I H E A D Q UA R T E R S CO N TAC T Tamara Horch-Prezioso ASAI Executive Director American Society of Architectural Illustrators 1022 Tait Street Oceanside, CA 92054 USA P H O N E 760–453–2544 E M A I L hq@asai.org W E B S I T E www.asai.org
TA M A R A H O R C H - P R E Z I O S O, Executive Director Tamara has a background in sales and marketing, administration, customer service and management. She has been ASAI Executive Director since 2004. Previously, she was Executive Director of a variety of other smaller associations. Tamara likes the fact that her current position allows her to exercise all of her skills and experience. Tamara has always loved art, in all its forms. She has been drawing since the age of two. In high school, she received a certificate in Architecture and Drafting. The position of ASAI Executive Director feels like a perfect fit to Tamara because of her passion for art and her professional experience. Tamara resides in Oceanside, California, where ASAI headquarters are located.
For assistance with website operation and to contribute news items CO N TAC T Jane Grealy Jane Grealy & Associates Pty Ltd 124 Terrace Street New Farm Qld 4005 Australia
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E M A I L jane@janegrealy.com.au W E B S I T E www.janegrealy.com.au
JA N E G R E A LY, Website Coordinator Jane is an architectural illustrator based in Brisbane, Australia. She has been an ASAI member since 1991, serving as President in 2002 and website editor for the last three years. Her work is regularly recognized in AIP exhibitions. She was also the founding President for the Australian Association of Architectural Illustrators (AAAI) and currently manages its website. In recent years her work has focused more on illustrating landscape, urban planning projects and environmentally sustainable architecture.
AMERIC AN SOCIE T Y OF ARCHITEC TU R AL ILLUSTR ATOR S
S P O N S O R PAG E
FORREC LTD. FORREC is a planning and design firm that specializes in the creation of entertainment and leisure environments worldwide. With built projects in over 20 countries, we have mastered the art of making memorable experiences by building big ideas.
Creative, seasoned and trusted — forty years’ experience in theme, urban, architectural and interior design has given us a singular ability to merge design creativity with fiscal practicality. This has earned us the trust of some of the world’s most successful leisure and entertainment companies, including: Universal Studios, The Tussauds Group, Samsung Everland, Paramount Studio City, LEGOLAND Development Corporation, Hyundai Group and World Wrestling Entertainment.
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S P O N S O R PAG E
ALSO COLLECTIVE an unconventional creative force
WWW.ALSOCOLLECTIVE.COM 116
AMERIC AN SOCIE T Y OF ARCHITEC TU R AL ILLUSTR ATOR S
ARCHITECTURE IN PERSPECTIVE 26
Architecture In Perspective (AIP) is the world’s foremost exhibition of contemporary architectural illustration. The annual show consists of approximately 60 pieces, selected by a jury of leading professionals. The AIP jury is convened every year in the home city or town of the current ASAI president. Three prominent jurors recruited from the fields of fine art, illustration, architecture, design and education review the hundreds of submitted images. Top honors go to the best Formal image, the best Informal (sketch) image and three images selected for Juror’s Awards. The premier award, the Hugh Ferriss Memorial Award, goes to the single image that the judges deem to be finest submitted. In a subsequent on-line jury, the members themselves vote to select the Members’ Choice Award, from among the images submitted for the show. In 2009 the ASAI International Student Competition was introduced to encourage young illustrators and to celebrate their work. Judging is conducted on-line by a jury consisting of well-known professionals, assisted by ASAI advisors. From the growing field of entries, one or two Awards of Excellence and one or two Honorable Mentions are selected. These images are included in the AIP show.
26 ARCHITECTURE IN PERSPECTIVE 26th International Juried Exhibition of Architectural Illustration
The American Society of Architectural Illustrators (ASAI) is a non-profit international professional organization whose goals are to foster communication among architectural illustrators, to raise the standards of architectural illustration and to acquaint the public with the importance of such drawing as integral to the practice, creation and appreciation of architecture. ASAI (formerly the American Society of Architectural Perspectivists —ASAP) was founded as a local society by Frank Costantino, Paul Stevenson Oles and Steven Rich in Boston in 1986. Today, it consists of some 500 members from the USA and countries around the world. It is affiliated with the American Institute of Architects (AIA), the Australian Association of Architectural Illustrators (AAAI), the Japan Architectural Renderers Association (JARA), Korean Architectural Illustrators Association (KAIA), the Architectural Society of China (ASC), the New York Society of Renderers (NYSR), the Institute of Classical Architecture & Classical America (ICA&CA) in New York, the Philippine Association of Architectural Renderers (PAAR) and the Society of Architectural & Industrial Illustrators (SAI) in the United Kingdom. In addition to its annual juried traveling exhibition Architecture in Perspectives (AIP), ASAI holds an annual conference, promotes professional tutorials and seminars, publishes a newsletter and offers advice to professional groups, business firms and aspiring architectural illustrators. More information may be found at www.asai.org.
What began as a single small, local, art competition, has grown to become an international celebration of architectural illustration. To help extend this celebration, each year, ASAI publishes a catalog and mounts a traveling exhibition. With its September launch in POLA gallery in Tokyo, AIP 26, is the first show to have been selected and debuted in Asia.
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A M E R I C A N S O C I E T Y O F A RC H IT EC T U R A L I L LU ST R ATO R S
ISBN 978-0-9710064-6-1
A M E R I C A N S O C I E T Y O F A RC H IT EC T U R A L I L LU ST R ATO R S