(1995) Artist/Designer: Willem van den Hoed. Watercolor, 10.2cm 15.3cm Architect/artist Williem van den Hoed continues his sketchbook-based architectonic explorations by, in this case, adding an amorphous shape with geometrical voids subtracted from it to a rectilinear baseform. Using colors along the warm-to-cool spectrum establishes a strong dialogue.
Hong Kong Soccer Stadium. Richard Sneary (and Susan Lynn). Architects: Hellmuth Obata and Kassabaum Sports Facilities Group, Kansas City, MO. Watercolor, 17.9cm 17.9cm A deeply effective image on several levels, this work succeeds in imparting clear information about the structural proposal in its eventual three dimensions and acts as a singularly successful work of art.
Untitled. (1976) Aldo Rossi. Ink and markers, 20cm 30cm The choice of strong complementary tones of red and green, used here establish a clear dialogue between the horizontal and vertical forces of the image, creates a subsequent architectural identity.
Forest House. (1996) Artist/Designer: Samuel Ringman. Watercolor, 23.4cm 23.4cm Ringman is an architect/artist who explores, via the graphic image, ''nature as an integral part of architecture." Of this view, he writes, "the emergence of the building from the rock outcropping and the regeneration of plants on the structure reinforce the concept of the house as an integral part of the forest, not as an object placed within it."
Cascade House. (1996) Artist/Designer: Samuel Ringman. Watercolor, 23.4cm 23.4cm The sentiment of this image reminds one of Piranesi and of Cole's historical preoccupations. Of the house, Ringman writes, it "is integrated into an extraordinary site at its most dramatic point; appearing as a barricade, it actually leaves the stream's flow uninterrupted. The house is a juxtaposition of natural and ordered elements, contrasting man's built environment with the natural forces that will erode and reclaim it."
Shelter Island House, roof plan view. (1994) Artist/Designer: William Pedersen FAIA. Prismacolor pencil, 46cm 46cm One of the principal framers of modern skyscraper identity, William Pedersen displays some of the fundamentals of his design impetus in a simple rendered plan view. A bold composition of simple forms creates one of the primary themes discerned in his much larger-scale buildings strong axial motifs, harmony and discord, balance and asymmetry, conflict and resolution. In its clarity and directness, this image possesses the strength of abstract art.
Serigraph:9202. Michael Insetta. Limited edition private benefit print, 56.4cm 33.3cm; Printer: Jon Cone Editions, East Topsham, Vermont. Collection: Michael Insetta Architectural language is abstracted here in both formal and expressive terms to create this striking work of art, which echoes Bauhaus and Constructivist aesthetic as well as DeStijl and the subsequent reductivist paintings of Mondrian.
Hayden Planetarium, American Museum of Natural History, New York City. (1995) John E. Fernandez. Architects: J.S. Polshek and Partners. Watercolor This versatile architect/artist continues to effectively explore design by means of the informal perspective study sketch. In this case, a particularly sculptural interior space is revealed very successfully.
Hancock/Axial I, Boston. (1995) Frank M. Costantino. Watercolor, 24.3cm 35.8cm This unique image takes a creative and visionary look at an existing structurePei's famous Hancock tower in Boston. While attempting to maintain and respect its iconography, the designer/ artist (one of the premier architectural visualists of our day) has graphically suggested changes to the form of the building to add scale, texture, and a more emphatic street wall axis. The well- considered choice of viewpoint and atmospheric condition result in most effective story telling.
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