National Cowboy Hall of Fame Addition Competition. (1992)Richard B. Ferrier FAIA. Architects: FIRM X; Ferrier, Hampton, Quevedo and King: James Hewlet. Watercolor and graphite, 70.2cm 93.6cm A wealth of design information is accessed by clever and skillfully done composite views such as this which was completed by all members of the Firm and received an AIA Dallas Design Award in 1992.
U.S. Federal Courthouse Competition, Foley Square, New York, view from Foley Square. (1993) T.W. Schaller. Architects: Kohn Pedersen Fox. Watercolor, 117cm 156cm The graphic representation of the important and distinguished foreground buildings was subdued in an effort to focus attention upon the more distant towerthe focus of the piece.
U.S. Federal Office Building Competition, Foley Square, New York, aerial view. (1993) T.W. Schaller. Architects: Kohn Pedersen Fox. Watercolor, 117cm 156cm Contextual identity was the clear directive of this graphic response.
Miyagi Arena. (1990) Hideo Shirai. Patron: Taisei Corporation. Airbrush, pen, and ink, 41cm 61.5cm Any suggestion of the media of airbrush as being coldly static or overly technical is dispelled by the skillful modeling of light effects in this highly dramatic representation which demonstrates that it is the artist, not the medium, who controls expression.
Proposed City Center Competition, Kuala Lumpur. (1993) T.W. Schaller. Architects: Kohn Pedersen Fox. Watercolor, 76cm 56cm Despite any appearance of "completeness," a simple arrangement of sculptural forms modeled by or against a strong sky was the intent in this more "finished,"process-oriented work.
Saitama Arts Theatre, Sectional Perspective View. (1994) Moritoshi Nakamura. Architects: Hisao Koyama Atielier, Tokyo. Watercolor, 51.2cm 76.9cm A tremendously skilled artist, Tokyo-based Nakamura has blended a modern interpretation of formal Beaux-Arts sensibility with a graphic theatricality perfectly suited to the nature of this proposal.
American Embassy, Moscow (1995) T.W. Schaller. Architects: Hellmuth Obata &Kassabaum. Watercolor, 93.6cm 93.6cm Light, cool tones were used to identify a large proposed glass addition, contrasted against the more earthy tones of the existing structure, to explain the design intent and to influence viewer opinion. An effort was made in this image to create a palpable "transparency"to symbolize political transition to a "new order"a post Cold-War sense of accessibility.
Proposed School of Business, Ohio State University, Columbus, Ohio (1995) T.W. Schaller. Cooper Robertson and Partners/ Kallman McKinnell and Wood. Watercolor, 78cm 117cm To create a coherent sense of unity among the diverse elements of this scheme in an active university setting, a careful modeling of dark and light, warm and cool values was achieved by means of large graded washes of spectral color.
Friedrihstadt Passagen, Berlin (1995) T.W. Schaller. Architects: Pei Cobb Freed. Watercolor, each: 93.6cm 100.2cm The proposed uses of this project were judged to have equally critical merit by both day and night; therefore, two images, from identical points of view, were completed with appropriately divergent lighting effects to help underscore the point.
Whitehall Ferry Terminal Competition, New York. Plaza view (1994) T.W. Schaller. Architects: Rafael Vignoly. Watercolor, 61cm 92cm The primary design statement here is the brilliant design concept whose signature roof form literally speaks the language of movement.
Whitehall Ferry Terminal Competition, New York, waterside view. (1994) T.W. Schaller. Architects: Venturi, Scott-Brown, Anderson/Schwartz, Philadelphia/NYC. Watercolor, 78cm 118cm A dramatic, late-evening view was selected as the most effective way of telling the story of this proposal. The project was intended as a major center of travel informed by the great clock which symbolized time.
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