UNIVERSIDAD INTERNACIONAL SEK
INTRODUCTION
The book Motive Force of Architecture written by Peter Cook, he was one of the founding members of theArchigram group and was very influential in the sixties for his futuristic designs where drawing was very important. In the course of time up to the present day in his projects he tries to achieve a contrast between the new object and the historical objects. In the beginning it states that the drawing and the paper are important elements for the development of creativity this is because this is where all the ideas that are thento be taken to reality is embodied. Additionally, he also held discussions about technology which later led toarchitectural drawing with emphasis on the new programs that have been implemented for drawing and representation. For example, architect Frank Lloyd Wright in the Broadacre City (1932–58) used techniques like color pencils and resources available to his disposition to explain the futuristic cities. In the past architects used magazines as a primary means of communication. The main argument of the book is about how the representation of architectural drawing should not be a simple representation of plans or an artistic representation, but the meaning of the building itself and on the site where it is located should be given importance. Also drawing is not only based in technique, it has other factors, it has a connection with the style, epoch, places, thoughts, and the motive. In which can lead us to the emergence of an ideal and is subsequently translated into lines that can be understood and enjoyed by the public. The drawing process arise arguments as well about the union between pencil tools and the computer programs because this method has not been given much importance. At the beginning of this stage, the union of these twotechniques caused several debates since digital work has not contribute much because its very rigid withorthogonal lines, as well as the basic tools that it has, but throughout the years the advancement of technology and updated programs for drawing have implemented more tools that allowed combining many techniques to approach the process of drawing. For example, in the book The motive force of Architecture there is a representation in the Architect Kenny Kinugassa-Tsui, where he performs modeling in a digital medium and its structure is represented by the use of colored pencils and watercolor strokes. Another architect example is Andrea Branzi and his art is called Residential Park, No-Stop City, 1969, this canvas was made out of ink, cut self-adhesive polymer sheet, and pressure transferred printed film on tracing paper, taped to paper. To summarize, after reading the book The Motive Force of Architecture its many ideas and concepts that has been debated and reflections about drawing representation, goes beyond the techniques yet contains other aspects like style, drawing motive. Despite the advance of technology, we should always taken into account not only the medium or the tool but all the elements, from the technique to the historical memory, as well as achieved successes in the composition of the drawing and that is not just a simple representation of a building.
ADRIAN BRITO - YERSON GONZÁLEZ
BOOK STRUCTURE
INGLÉS TÉCNICO I
28-07-2020
THE MOTIVE FORCE OF ARCHITECTURE PETER COOK
Third part Tools to draw
First part Concept of the drawing
-Advanced technology from sketches to 3d prototypes -Drawing as representation of information and art
03
Talk about motive, strategy and how is it vision.
BOOK STRUCTURE
gouache,Museum of Modern Art,New York
Drawing and strategy
Development of various techniques as an element of representation
TOPICS
Digital manual
TOPICS
Beyond DrawingBeyond reality
Drawing and surface
02
01
Peter Cook, Swiss Cottage Tower, London, UK, 2011. Ink and watercolour.
-Scope of expression in drawing -Contrast in manual and digital materials -Representing the atmosphere in projects
-Simplified forms for architectural representation -Digital design as representation of sensations -digital techniques as a new form of architectural representation
-Architectural drawing=Buildings and their condition as objects in space. -The thing that we are looking at links with our experience of inhabiting buildings.
Drawing and motive
- Combination of describable moves based on generally recognised values. -Result of much less describable moves. -C. Revived - C. Axonometric - C. Hybrids and the Collage Drawing
Drawing and composition
Drawing and image
Drawing and vision
-Uniqueness = confrontational -The mode of the drawing is contributory to this confrontation is debatable.
-As sight can respond to the needs of people -Digital drawing and the power of the eye
Drawing and technics
Cederic Price,1959-61.Aerial perspective from cockpit cut and pasted painted paper on gelatin silver print with
- Layers of development. -Series of interdependent events. -Read as a comprehensive strategy.
Talk about the techniques, surface, and digital
Second part Representation forms Talk about the representatión trough pictures, composicion and expersión.
John Hejduk, Wall House 2 (AE Bye House), Ridgefield, diazotype, 71 x 102 cm. Museum of Modern Art,
nnecticut, USA, 1973–6. Isometric (1973): crayon on sepia
John Hejduk, Wall House 2 (AE Bye House), Ridgefield, diazotype, 71 x 102 cm. Museum of Modern Art,
nnecticut, USA, 1973–6. Isometric (1973): crayon on sepia
TOPICS
Drawing and expression
- Academics = teaching - Polemicists = made extreme statements and often extreme drawings. - Imagination and erupt into visual rhetoric
Col or edpenci l s
Col or edpenci l s
Rel at i ont ocont ext -Cont r ast 3dmax
Aut ocad2D
Penci l
I nt er f aces
Mor f ophol ogy 3dmax
TheMot i ve For ce of Ar chi t ect ur e Yer sonGonzรกl ez Adr i รกnBr i t o
Spat i al i t y 3dmax
Phot oshop