adjective: done with the hands, involving physical work
The process of drawing is like writing a diaryit's a way of thinking about time passing- Rachel Whiteread
In Out Stairway by Rachel Whiteread
On the right under Information you will find the following:
* References to reading and films relevant to the unit agenda and wider interest
* Suppliers of materials you may need
* Resources where you can find research material and inspiration
Essential tools:
Pencils and pens for a range of types of drawing
Pencils suitable for precise drawing eg. 2mm clutch pencil with 2H leads, and grinder/sharpener
Architectural scale rule
T-square or parallel motion for drawing table
Adjustable set-square
Scalpel for model-making, recommended Swann Morton No.3 handle and 10A blades (always use a sharp blade and dispose of old ones carefully)
Metal edge
Cutting mat
PVA/white glue for models takes practice but is best for card. Superglue is unsuitable.
Stock of tracing paper, cartridge paper and modelling materials eg. greyboard, watercolour/ thick cartridge paper.
Sketchbook in portable size - carry it with you and get used to making drawn observations and visual notes on your project and other ideas as they occur to you.
Camera - does not have to be expensive but you should be able to use it
sketchbook pages by Steven Holl
Portfolio:
The care with which you construct your portfolio, models and drawings reflects directly on your abilities and interests as an architect. You cannot construct your built proposals but you are constructing your descriptions of them. Each drawing is a 'piece' that is constructed by you; the portfolio itself, the manner of drawing, the visual ordering, the physicality of a piece as well as its content, are all aspects that contribute to others' understanding and your own exploration of the design process.
There are different 'speeds' of drawing and model-making. Find out what these are and make use of them. All successful portfolios contain both fast and slow drawings.
Your drawings should both explore and clarify ideas, as well as describe and communicate these to other people.
The drawings should be approached as forming the actual process of investigation and design - not a retrospective description.
Sketch models and sketches in particular do not have to be 'finished' or final to be a valuable part of the process.
We are interested in process:
* the process of working and generating design
* understanding and drawing on ecological and man-made processes
* architecture as a process: consideration of time, weathering, adaptation, life-span, responsive and dynamic architectures
Process in portfolio:
You must include process work and documentation of process in your portfolio, It is essential that this is produced continuously throughout the year. Models and films must also be documented in your portfolio and/or process book as stills, photos and working drawings.
top: Las Vegas by Robert Venturi and Denise Scott Brown
above: sketch for East Barking framework plan by East
above: sketch for East Barking framework plan by East
Portfolio format for Level 2:
- Process book
- Large format drawings
- Supporting studies book
Portfolio format for Level 3:
- Process book or integrate process into large format sheets
- Large format drawings
- Supporting studies book
Decide on a default sheet format. We advise A1 Landscape for the large-format part of the portfolio, with an absolute minimum of A2. Having a default means you should stick to this chosen size and orientation for all sheets and drawings, however certain pieces may be different format as appropriate. This should be a conscious decision; for instance you might make a booklet/set of small drawings or research, or make a larger drawing at a particular scale. If your format is A2 you will need to make larger drawings that should fold down.
Being able to critically assess your own work is crucial. Look at each sheet as you produce it and afterwards. Graphical layout, text styles and sizes, the titles and annotations you use, are all judgements you need to make. Prints should be of good quality but it is perfectly acceptable to join smaller prints to make a larger sheet, so long as this is done with care and attention (tape on the back only, trim paper so it does not overlap).
Process book:
Devise a simple layout and size for your process book. Remember you will need to print/produce pages regularly and often; set aside a time once a week to put together and print the pages produced over the last seven days. Pages should be accumulated throughout the year and only bound in stages or at the end to allow for editing. Remember to allow space for binding in your layout.
Your process book is separate from sketchbooks and collected research material (these should be submitted as supporting material to your portfolio), and is an edited, constructed document. Making it allows you to reflect on your ongoing process - which is why it must be done continuously and not at the end. Create a chronological narrative which gathers the various strands of your design process: select sketches, notes, photos, reference images and key research material, and add small amounts of text as a commentary. Anything you think may be relevant should be included.
documentation of walks by Masayoshi Nakano
