Woodbury University, School of Architecture
critic: Mark ERICSON.
suckerPUNCH: Describe your project.
Mark ERICSON: The basis of Architectural drawing is points, lines, curves and surfaces. The position, relationship and orientation of these elements defines the form of a building or an object in the abstract. . . .
However, as these lines are increasingly pushed towards physical realization in either a building or model, they gain a material presence. A clear example of this is in the stair. The drawing of a stair historically involved the orthographic projection between plan and section. The height of each riser and the overall height of the stair is defined in section while the depth of each tread is defined in plan. Each tread of the stair is coincidental with an abstract cutting plane in plan. The assembly of the stair materializes these abstract lines and cutting planes into physical form. The architectural drawing operates not merely as an image of material construction, but rather as generator of the material lines that govern and define architectural form.
However, this relationship is not one directional. Architects in the 17th century utilized sophisticated two-dimensional drawing processes to develop complex three-dimensional curvature in the construction of stone vaults. While many historians have discussed the material impact of stone on this drawing practice, another material probably had a more significant impact: paper. This particular drawing practice depended on a geometric operation that mirrored the physical action of folding paper along a line for the production of small models. These lines then became the governing agents within the architectural drawing practice and consequently the material lines on the faces of the stones. In this instance the materiality of paper contributed to the material lines of stone.
In this introduction to Architectural Drawing within Woodbury University’s Graduate program in Architecture, students were asked intensively explore material lines by consistently testing the relationship between the lines of the drawing and the lines of a given material assembly. Descriptive Geometry, Skiagraphy, and perspective were consistently bent manipulated and tested as their abstract organizational systems were deployed to produce material form.
Teaching assistant: Eryanne EDGERLEY.
Students: Rodrigo VELASQUEZ-GONZALEZ, Karla LOPEZ, & Joanna JANKOWSKA.