Digital/Manual: Crossings

the final drawing for Perry Kulper's Drawn Forth was digital/manual: crossings.
the project was a combination between digital work and manual work. not so much to represent something specific or have a clear-set agenda, but rather to gain a new tool set and way of working.



using my own digital files i put together a section of an undergraduate project, along with a collage of multiple photos, plans, and other digital images ghosted in the background.

for the manual, i wanted to really blur the definition of what constitutes manual. thus, much of the manual was hand drawn and scanned in. the spills, also from another past project, were actual spills of paint then placed into the background. the fence-like structures were hand-drawn and scanned in. the lines of flight above the building were a little more interesting in that they confuse the definition of digital/manual. for those, the section was printed up, transferred to drawing paper with acetone, the lines of flight then drawn on top of it, then scanned, and then superimposed onto the original digital scan, acetone transfer and all.

the final manual work was done with the placing of newspaper clippings to fit into the gaps of the lines of flight. while there was no specific reason for this since i was simply exploring new techniques, multiple reads were taken from the project which, while unintentional, was quite accurate.

the readings of this were that there was a theme of water and fishing in this drawing. having not presented it that way i found that interesting for multiple reasons. one was the fact that this base drawing of the section was a fishery project in sault ste marie, michigan. perhaps that led me to the placing of the underlying pattern of hand drawn fish skin onto the section, but the unintended reads were with the lines of flight and newspaper. the lines of flight reminding people of fishing line while the newspaper clippings reminded people of wrapping fish in a paper.

interesting takes on it. while it wasnt my intent, i suppose people will see what they want to see.
i enjoyed this project. it has always been fun for me personally going from manual to digital and back and forth again. definitely something i'll be incorporating in my future works.

draw.erase.remember finalized

drawing completed and finally scanned. levels adjusted somewhat, but idea remains clear. the erasure can be obviously seen on both sides now, as parts of both drawings have gone missing. the relational structure also becomes apparent in that characteristics find their way on to both sides of the drawing.

im interested in the idea of transformation through removal or disguising features. my current research has been invested in replicating, counterfeiting, and reproducing through representations and re-presentation. the act of removal or editing brings these ideas into a new perspective.

HIGH HOUSES-lebbeus woods

seriously diggin this project (and all lebbeus woods works/drawings for that matter)

reclaiming materials and more interestingly, reclaiming airspace. integrating conflicting ideologies of flight versus structural hold to ground through tension cables.

interesting back/forth conversations happening in the work.

just putting off actual MS work...

http://architecturelab.net/2010/03/high-houses-by-lebbeus-woods/

temporal morphology

project 2 for perry kulper's drawing course was temporal morphology. the project took an event or competitive video and formed a spatialization through drawing movements and aspects of the video.

my video was the overtime sequence of a collegiate wrestling match between the university of michigan and the university of minnesota. the takedown was the motion and process in focus (seen here).

the drawing, which is still in progress, takes into account, time, score, relational thinking and spacing, foot and head movement, control of match, forces and pressures, and even secondary components or actors within the scene such as the referees or spectators in the stands. i have approached this drawing as a construction document for the spatialization of the overtime period of a wrestling match. it carries loads of information and it's safe to say that this is a drawing that could always be pushed further.

(approximately half done)

this is a new technique and way of drawing that i have never been exposed to but i have found a deep love for it already. it has a steep learning curve and you begin to sense that every component of the drawing is as important as the last. the drawing has already become completely relational in the sense that it is thought out from the grid, to the structure of the forms, to the mapping of poche and graphics. it really has become a construction document for the structure of the takedown.

draw.erase.remember

the first project for drawn forth.

(Arch 509, Fall 2011, Prof. Perry Kulper)

the act of drawing 504 marks. all engineered and structured. the marks were generated along side a famous floor plan (Koolhaas's Villa Dall Ava in this case) to gain a relational structure between the two. the 504 marks were to be aligned, patterned, rhythmic, and repeated in sets of 21, 24 times.

once drawn, erase and remember take place on both halves of the drawing. the act of erasing our own work was a way of selecting and precisely acting on the drawing. covering, removing, or deleting in some way, becomes a form of design in itself as opposed to a form of destruction. one might begin to understand and read the act of erasure as a secondary layer of information in which we trump the drawing.

the remembering was a bit trickier...

this was meant to erase, but in some way protect or collect the marks.

i chose to layer on top of themarks with white gesso to create a ridged structure but also follow multiple edge conditions, thus mapping out strange formal conditions which were never there to begin with. these were generated through masking out bounds before erasing, therefore, the act of remembering was an obvious one; i used the same material that i had protected and created these edge conditions as the material to protect and 'remember' the marks below it.

Koolhaas's Villa Dall Ava

(http://wirednewyork.com/forum/showthread.php?t=18370&page=3)

the 504 marks before erase-remember occured.

note that all 24 sets are numbered as well.