Tower of Babel. (1995) Artist/Designer: Moritoshi Nakamura. Watercolor, 51.2cm 76.9cm Nakamura has achieved an inspired interpretation of the venerable "myth-of-Babel," saying much about the mutability and materiality of life and the "shifting sands" of architectural fashion.
Hans-Gert Jellen Aids Memorial. (1991) Artist/Designer: Andy Hickes. Mixed media and airbrush, 51.2cm 76.9cm In a very personal response, this artist has fashioned a moving tribute, utilizing the forms of architecture in the most directly communicative waya framework for expression.
Window and Fragments: Memory and Desire. (1994) Artist/Designer: Richard B. Ferrier FAIA. Watercolor, graphite, metal, and photographic images, 76.9cm 102.5cm Done for inclusion in an invitational exhibit sponsored by the Texas Fine Arts Association, this arresting composition is a response by the prodigiously talented Ferrier, consistent with the investigative work of his ongoing Windows and Fragments series. This piece is, however, in keeping with the exhibit's more personal theme, using photographs as symbolic memory reference, the dialogue of architectural materiality, and compositional "negative" space to speak a unique experiential language.
Proposed Stage Set, Roman Triptych, Resphigi. (1992) T.W. Schaller. Watercolor, 76cm 56cm This image is a free adaptation and celebration of traditional Roman forms; moreover, it is a celebration of the warm Italian light which gives these forms shape and substance.
Valhalla of the Americas, Ixtapa, Mexico. (1989) T.W. Schaller. Watercolor, 6lcm 46cm The cool tones of structure are silhouetted by the warm hues of atmosphere and space, the real story of this drawing.
Proposed Hydroponics Research Facility, Uruguay. (1993) T.W. Schaller. Watercolor, 46cm 61cm An effort has been made here to describe space and form by the use of pure color rather than by light/dark tonality. Warm reddish hues were assigned to the land and man-made objects, while cool green was reserved for the water and sky.
Image. (1993) T.W. Schaller. Watercolor, 46cm 61cm Inspired by the evocative photographs of New York during the 1940s by Andreas Feinenger, this image attempts to establish perceived depth by layering of atmospheric planes rather than using standard perspectival devices.
Aquasulis, Bath, England. (1993) T.W. Schaller. Watercolor, 93.6cm 93.6cm The footprint of the architecture here is established by the ancient Roman baths, but the surrounding design is an imagined future, implying both permanence and mutability. The ''fixed" elements, water and sky, are treated in cooler, more "evolved" tones, while the transitory creations of man are handled in warmer, more "primal" colors.
From: The City (1990) T.W. Schaller. Watercolor, 72cm 56cm Light is used here as a symbolic device, emanating from as much as being received by the subject building.
Proposed Archaeology Museum, Crete. (1990) T.W. Schaller. Watercolor, 61cm 46cm Time as allegory is the essential idea in this image. Perspective's implied three dimensions of height, width, and depth are augmented by a fourth- dimensionthe implicit passage of the years, indicated here by the represen tation of progressive demateriality and by a glimpse of an expanse of infinite space.
Proposed Residential Span, Southwestern United States. (1993) T.W. Schaller. Watercolor, 70.2cm 93.6cm Few structures speak of movement as eloquently as the bridge. But to consider the span as both a means of transition (process) as well as a destination (product), is the aim of this work. Note the visual organization of cooler blue/green tones used for all man- made horizontal elements of the natural components of sky, water, earth and vertical stone piers and the warmer coloration treatment.
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