Drawing The Experience Of A Space
Jonas Gunerius Larsen
Who influences you graphically?
In my opinion, some of the most interesting pieces of architecture only exist on paper. Like the poetic homage to scientist, Sir Isaac Newton manifested in a numerous drawings done by Etienne-Louis Boullée, or John Hejduks Masques. They both represent immutable spaces. However, inspiration comes in many forms, and I often tend to look outside the architectural discipline for graphically influence. Back at school, I was very fascinated by technical drawings done by hand. Obsessing over the line and the precision of architectural representation. These days, I like work that somehow manages simplicity.
What defines the way you approach a project graphically?
I believe that a strong drawing communicates the link between idea and spatial form, and it has the ability to survive the many waves of practicalities that tries to wash out this connection.I would like to think that the graphically approach to a project is a response to specifics relating to site or a projects “mood”. However, you cannot always tell what this is, which then leads to a frenetic search of mixed techniques.
How vital is the art of sketching in understanding the form and potential of a structure?
I think sketching is of absolute importance in developing a project. It is a shifting process driven by intuition and guided by criticism. A natural selection. This evolutionary approach to a project, which I think is quite normal, involves the classic pencil to paper as well as doodling in Photoshop. I have discovered that there are many ways to sketch and it is important that the choice of technique comes easy. How wonderful it would be to have been to be able to sketch ideas without friction between hand and mind.
How does the superimposition of a variety of images help in creating a specific atmosphere?
Working in a collage like manner is a way of encountering the multi-layered stories intertwined in one space. In the experience of space, all of the senses are involved. The body is a finely tuned apparatus that constantly interpret the physical conditions stimulated, more or less aware, giving identity to a space. Proportions relates to measures absorbed in movement, materiality echoes back from that movement into to the ear revealing surface, and the level of enclosure can be experienced trough the lightness of a breeze brushing against the skin. A space consist, and is defined, by all these sensory fragments. Because of the inadequacies of a drawings ability in telling the complete story of a space is limited by its ocular nature, the drawing must sometimes do more. Exceeding the correctness and technical conventions. Working in fragments, superimposing images, is a way to grasp the totality in the representation of a space. The ability to unite tactility and atmospherically qualities into a 2D image. I think that is the magic trick of the drawing.
Born in Volda, Norway in 1986. Studied at the Oslo School of Architecture 2007-2012 and at Royal Danish Academy of Fine arts, School of Architecture 2010-11. Started own practice in 2013 and worked for Manthey Kula and JVA. Currently Teach at Architecture- and Designschool of Oslo.