Expressing Daily Sensorial Experiences
Who influences you graphically?
During my 5 years of studying I was really interested in Belgian artists and architects. I was particularly intrigued by the collages of Office KGDVS’s, Bas Smets’s ‘large scale’ drawings, and also DVVT compositions and choice of colours. I recently used old postcards as an inspiration for my master thesis’ drawings, as they were depicting the exact area I was working on in a vivid and wonderful way.
What is the purpose and effect of animating a drawing?
I strongly believe in the power of images. A drawing is a very efficient tool to represent ideas, details, atmospheres… Gifs are for me a means of expressing daily sensorial experiences such as wind, water flowing… Sometimes, it is that kind of small details that help the audience to really get into the image. I’ll keep developing the Gif tool in the future. Try to relate it more to the architecture itself: as the changing-façade in Montmédy’s ‘Lieu du séjour éphémère’.
Whilst you use animation to explore the movement of certain features within most images, in Churchyard you use it as a means to construct the setting. Why?
Exactly, in most cases, animations were used to add interactivity between the spectator behind its screen and the project itself. In the ‘Churchyard’ project, on which we partnered with Wonne Ickx in Porto, animations had a much bigger role as we worked on this idea of a Toy Theatre. This theatrical setup was a single answer to few challenges: it helped us to create depth, building 3d spaces from 2d plates and being a theatre, it allowed us to tell a story within our model. We produced a stop motion animation, with small cut-out figures playing a scene, passing in front or behind the plates and showing how we envisioned life within the buildings’ environment.
To what extent is your specific use of texture inherent to the atmosphere the images try to convey?
In the “Churchyard” project the use of a single texture with different colours was a way to do a lot of plates and experiment things quickly while keeping some harmony. I usually use textures to suggest a spatial atmosphere keeping an imaginary dimension. Contrary to 3D renderings, I think that textured drawings represent some poetic reality and convey more emotions.
To what extent does the juxtaposition of drawing and photography alienate or associate the two conditions?
In some occasions I like to use the juxtaposition of drawings and photography, I consider it as a dialogue between the proposal and the existing elements. For example, in the drawing ‘(Ré)Appropriation’ it associates an urban wasteland with flashy characters on it, gazing at the surroundings. As an analysis of my hometown, the intention wasn’t to design an architectural proposal but rather to highlight the potential of inner city sites. This collage helps me to share my thoughts about the place without touching a single bit of the existing city-fragment.
Romain Guigo is a French Architect who graduated with Honors in 2015 from Saint-Luc Tournai, Belgium.