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The Art of Architectural Drawing

 

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La Defense Competition

La Defense Competition, Paris, France, (1995) T.W. Schaller. Architects: Cesar Pelli and Associates. Watercolor and pencil, 42.9cm 66.3cm This vigorous graphic treatment demonstrates that it is entirely possible to describe an evolving architectural presence by an emphasis upon volume, light, and context rather than by design specificity.

Proposed Development, Newport Beach, California, park view

Proposed Development, Newport Beach, California, park view. (1994) T.W. Schaller. Architects: Aldo Rossi, Studio di Architetura. Watercolor, 70.2cm 93.6cm Color is as deeply important to this image as it was to the development of the design scheme it seeks to interpret.

South Pointe Development Competition

South Pointe Development Competition. (1993) Curtis James Woodhouse. Architects: Arquitectonica with STA and the Portofino Group. Watercolor, 35cm 31cm

Resort Hotel Proposal, Portugal

Resort Hotel Proposal, Portugal. (1991) T.W. Schaller. Architects: Arquitectonica. Watercolor, 28cm 43cm As designer, Bernardo Fort-Brescia of Arquitectonica sought a highly charged sense of vitality and informality for the multifarious forms of these proposals. The graphics, therefore, needed to be as varied and lively in color range and composition to effectively tell the story.

Baltimore Performing Arts Center Competition

Baltimore Performing Arts Center Competition. (1994) Artist/Designer: Rafael Vignoly. Charcoal and color pencil This compelling and vigorous image records an instantaneous design impulse; a few brisk lines and tones the cool blue of the superstructure above and the deep black of the earth belowestablish the essential information clearly and concisely. This is a designer who truly "thinks with a pencil."

Baltimore Performing Arts Center Competition

Baltimore Performing Arts Center Competition. (1994) T.W. Schaller. Architects: Lett/ Smith, Toronto. Watercolor and pencil, 53cm 76cm overall This composite of gestural vignettes establishes an effective and atmospheric progressive "walk-through" of this large design concept proposal by the well- considered choices of view.

Chinese Grain Infrastructure Export Terminal, China

Chinese Grain Infrastructure Export Terminal, China. (1993) Barbara Worth Ratner. Architects: Simons- Eastern. Watercolor and color pencil, 101.4cm 78cm This image of a generic terminal "was created to elicit interest in developing a comprehensive system of terminals with rail and water links" for the distribution of goods within China. "The red of the sky was selected for its association with joy and prosperity," and it is in perfect sync with the simple bold forms of the design.

Puebla New Town, Puebla, Mexico

Puebla New Town, Puebla, Mexico. Steve Parker. Architects: Hellmuth, Obata & Kassabaum. Watercolor, 31.2cm 24.38cm The bold palette and free watercolor treatment of this early design phase sketch could not be more appropriate to the subject matter, to its intended usage, and to the selected site.

The Four Continents Bridge, Hiroshima, Japan

The Four Continents Bridge, Hiroshima, Japan. (1988) Artist/Designer: James Wines, SITE. This image, completed as a design proposal for the Hiroshima Sea and Island Expo in 1989, is another investigation of the bridge form as destination. The structure symbolizes the connections between land, sea, and people. In order to establish a valuable link of respect and responsibility, the insinuating elements of all three of these influences extend across the span in unison.

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