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Behavioral Formation
Emergent processes of formation create intensive, volatile, intricate, complex phenomena. These processes have come to define our contemporary understanding of the nature of becoming, which stands in contrast to established notions of architectural design and authorship.
The design research of Roland Snooks is a speculation on the relationship between emergent processes of formation and architectural design intention, and explores the strange specificity of an architecture that is drawn out of this interaction. This research operates within a larger architectural and cultural concern for complex systems and their role in algorithmic design processes.
The original methodological territory carved out from this larger milieu is the articulation of a design process in which architectural intention is embedded within emergent processes.
eBook
Architectural graphics
This guide offers an introduction to using graphic tools and drafting conventions to translate architectural ideas into effective visual presentations, using drawings to illustrate the topic effectively. This updated edition includes new information on orthographic projection in relation to 3D models, and revised explanations of line weights, scale and dimensioning, and perspective drawing to clarify some of the most difficult concepts. New examples of modern furniture, APA facilities, and presentation layout provide more up-to-date visuals, and the Reference Center features all new animations, videos, and practice exercises.
Book
Architecture through drawing
'Architecture through Drawing' examines how drawing - as both action and object - encapsulates complex ideas relating to culture, technology, space and the built environment. Bringing together an array of beautiful and rarely seen drawings dating from the sixteenth century to the present day, all representing different geographical locations, techniques, methodologies and purposes, the book defines a new field for the subject of the drawing in architecture. It reveals the motives for architectural drawing beyond the requirement to document the processes that underpin the realisation of the architectural object. This book asks, fundamentally, whether drawings can illuminate new interpretations of architectural experimentation. Examples range from initial sketches by architects to analytical and construction drawings, perspectives and schematics, collage and more complex presentations and paintings often carried out in association with others.
Book
T-Squared
Original collection explores the relationship between research that shapes art, architecture and design practices, and assignments that are developed by faculty for students. Demonstrates how pedagogical inquiry can become an evolutionary agent and makes innovative ideas/exercises available for the first time outside studio courses. 66 b/w illus.
eBook
Enabling Student Representational Imagination: Drawing Architecture in Charcoal to Transform “Seeing”
Students new to architectural drawing are challenged with “seeing” architecture through representation. Therefore, learning to draw as a transformation of seeing must involve a range of “seeing” experiences to enable representation to make sense. Learning to draw orthographic drawings challenges “seeing” by making engagement of imagination subservient to the tedium of precisely constructing line drawings. Charcoal drawing instead flips the challenge of representing buildings—imagination informs and what is learned enhances rather than challenges “seeing.” Charcoal drawing thus offers a pedagogical antidote to diminished imaginative thinking. This article explains the pedagogical use of charcoal in an architectural drawing course in which many have never before drawn. Iconic black and white architectural photographs by Ezra Stoller, Julius Schulman, and Berenice Abbott comprise subject matter of charcoal drawing to engages ways of seeing that measurable drawings do not, in the following ways: charcoal’s reduction to black and white displays the experiential and spatial content of architecture as a range of light and shadow in a manner that allows students to discover that architectural space is activated by light. Secondly, charcoal does not allow the making of detailed marks, necessitating engagement of imagination during the drawing process to represent light on a surface. Thus, details are imagined rather than “in” the subject. Because charcoal drawing is atmospheric, drawings look more accomplished than they are. Finally, because charcoal drawing transforms “seeing” through imagining, its imprecise marks may better express an architectural idea than line drawing.
Journal Article