Fișa disciplinei:

FA-C SFA-1 Studiul formei (1).pdf

Department:

Study of Form and Ambience

Course Leader:

arh. Lucian Bobeș

Learning outcomes:

In the first half we want every student to acquire new language notions so that they can use their skills in a variety of ways to describe a place, an object of architecture and its details. Students will learn and experience different representation techniques and alongside notions of art and history of architecture.
We intend to initiate the students into the graphic expression using guidelines specific to this kind of art.
We also suggest they experiment various techniques depending on the purpose, support and duration of exercise.
Each student has to practice different ways of expression so that one can feel free and satisfied in using further the experience gained in the workshop design.
They have to acquire a certain elasticity in expression, so that they get used to an independent imagination as individuals devoid of constraints, brave and innovative.

Content:

1. a. How do we know and describe a space? About the sketching technique.
Each student should make a minimum of 12 sketches on A4 paper, namely two for each of the six typologies that have been proposed for the workshop . Each of the 12 sketches should be inspired by the sketches of a great architect of the ones presented.
b. Diagrams.
Each student should make a minimum of 6 diagrams on A4 paper, namely one for each of the six typologies that have been proposed for the workshop .The diagrams will help students to understand and describe from a certain point of view the buildings sketched in the first part of the topic.
Double theme. Support: Paper A4. Mixed media.
2. a. The object book - the artbook of a project (sketches, drawings, photos, collages)
Each student should use an A4 watercolor paper notebook or should make a notebook with at least 20 A4 pages, view/wide or high/portrait type. The notebook could be made in various ways: by folding a long sheet of paper, or by tying up sheets of paper with different textures, etc. On this notebook, each student should accomplish a diary of the project that he/she is practicing, in a very personal way, in the workshop.
b. Photography and interventions on photographic pictures.
Each student will print the photo of a blind wall (a part of the inner courtyard of our Univesity) on a orizontal ­image. The intervention on wide landscape format photo should consist of: a linear or pictorial redefinition of several architectural elements in the photo, the placement of an abstract or figurative composition on the blind wall, the eventual addition of some carved volumetric elements (or of an artistic installation) as well of the eventual addition of drawn or cut out silhouettes. The manual ­intervention should be accomplished by using markers, colour inks, water colours (acrylic colours or aquarelles)
Double theme. Support: A4 notebook and A4 paper. Mixed media.
3. a. Graphic essay on a material of your choice:stone, brick, wood or concrete.
The connection between the material used and the structure of an architectural object.
Students should make a graphic essay that will tell the story of the way in which the chosen material determines the structure and appearance of an architectural object.
Images can describe roofing systems, facades, perspectives, interior architectural elements, details, etc.
b. Materiality and time.
Each student will make a composition that will combine at least
two of the following materials are concrete, stone, wood, metal and brick. The composition will be at the free choice of each student (it can be symmetrical or asymmetrical, with round elements or only with rectangular elements, etc.).
Double theme. Support: Paper 50 cm/50 cm. Mixed media.
4.Subtraction and addition. Clay cube.
Using sketching the students have to practice different ways of changing a cube by substraction or/and addition while keeping its identity intact. The most interesting idea presented will be clay modeled.
SImple theme. Materials: clay.

Teaching Method:

Theoretical exposure accompanied by images and video presentations, practical work in the workshop conducted under the guidance of the teacher.

Assessment:

The average of the 4 works.

Bibliography:

Ching Frank, Architectural Graphics, Van Nostrand Reinhold Company, 1985, New York, U.S.
Herzberger Hermann, Lessons for students in architecture, 010 Publishers, 1998, Rotterdam, Netherlands
Roudarski Stanislav, Towards Morphogenesis in Architecture, Internation Journal of architectural ­computing, 2010, London, U.K.
Babina Federico, From Aalto to Zaha Hadid, Laurence King Publishing, 2015, London, U.K.
Babina Federico, Archist: If Artists Were Architects, Uitgeverij Luster, 2016, Antwerp, Belgium
Henry Mc Goodwin, Architectural Shade and Shadows , Bades & Guild Company, 1904, Boston, U.S.
Kliment Stephen, Architectural Sketching and Rendering: Techniques for Designers and Artists, ­­
Watson-Guptil Publications, 1984, U.S.
Hutchison Edward, Drawing for Landscape Architecture: Sketch to Screen to Site, Thames Hudson, 2016, U.S.
Van Uffelen Chris, The Book of Drawings & Sketches: Architecture, Braun, 2013, Switzerland
Baal-Teshuv Jacob, Christo and Jeanne-Claude, Taschen, 2001, Germany
Schulz Adrian, Architectural Photography: Composition, Capture, and Digital Image Processing, Rocky Nook Inc., 2012, Santa Barbara, U.S.
Gerald Brommer, Collage Techniques: A Guide for Artists and Illustrators, Watson-Guptill, 1994, U.S.
David Bennett, Concrete Architecture: Tone, Texture, Form, Birkhauser Verlag AG, 2001, Basel
Switzerland
Claudio Santini, Panama: Architecture, Urban Art, Texture , Createspace Independent Publishing Platform, 2014, part of the Amazon group of companies
Andrew Dolkart, Susan Tunick, George & Edward Blum: Texture and Design in New York Apartment House Architecture, Princeton Architectural Press, 1996, U.K.
Spiller Neil, Drawing Architecture, John Wiley & Sons, 2013, New York, U.S.
Scheer David, The Death of Drawing: Architecture in the Age of Simulation, Routledge, 2014, U.K.
Hogarth Paul, Drawing Architecture: A Creative Approach, Watson-Guptill Publications, 1973, U.S.