Isolated Architecture

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Isolated Architecture

 Joseph Ignacio Ruiz_T38 Studio

I think the objectification of the architectural piece becomes more evident when presented against a plain background, you know that its planes will be affected by numerous elements but  once these planes are isolated from a sky, a source of light, from nature, and are not framed by the existing context the drawing starts speaking in a more honest tone about our intentions as designers.

Interview

Who influences you graphically?

Ever since I was introduced to David Hockney’s work which was back on my first year of my architectural education I was captivated by all his different ways of representation of scenes, from his early paintings in the 60s to his latest iPad impressions, passing through his amazing photographic collages in the 80s. Since then his work, sometimes in a very unconscious and sometimes not intentional way, has been of great influence and raises questions of composition, depth, textures, and light and shadow. I am also very drawn to the work of Wes Anderson, his very clever techniques to showcase certain aspects of his stories in a dimensionally challenged manner (the sectional model of the Belafonte and the representation of the grand Budapest hotel landscapes), providing the viewer an insight into his vision of the story.

ELEVATIONS

Elevation of a house in the Hamptons that proposes a cantilevered configuration to accommodate the program that cannot be accommodated on the wet soil around the whole site.

How important is the plan as a tool of representation?

In the Hamptons House, in particular, working in plan became a crucial method to achieve a functional yet dynamic use of space, the offset of the volumes were seen as opportunities to create usable exterior space. I would not take for granted the beauty of working in section though, for the house with the pool in the middle , for example, that sections became the best way to understand its tectonic complexities, its materiality, how light is to impregnate the interior space.

ELEVATIONS

Floor plan of how the house touches the ground.

You seize to reveal the proposal through views, why so?

I believe in the isolation of the architecture as an object that, even when is to be grounded and exists in a specific context, can portray visions of certain ideologies. These images are to be translated to address real life conditions, they are not to only stay on paper, so I think each one of them reveals programmatic, material, and spatial decisions that might be more visible when framed into views. The Multi-use building image, for example, suggests that regardless of the location of the project, one of the most important visions of this project is to bring the public realm into the building and vice versa.

What defined the drawings selected?

I think the objectification of the architectural piece becomes more evident when presented against a plain background, you know that its planes will be affected by light, shadow, and by their tectonic compositions, but  once these planes are isolated from a sky, a source of light, from nature, and are not framed by any man made object the drawing starts speaking in a more honest tone about the composed structure, about it intention, and materiality; After that we can let light, nature and the street consume the object.

PUERTA DEL MAR SECTION

House by the beach with a lap pool that bisects the house into two wings, one containing the social program and the other the private.

What is the effect and purpose of the textures? Do they hint to a specific materiality?

The texturing or non-texturing of the different planes are used to suggest certain materiality but I think they are there more importantly to reveal an otherwise absence of context. They are there to cast shadows, reflections, nature, and the street.

 

ELEVATIONS

First level floor plan housing all the public program.

ELEVATIONS

Second level floor plan housing most of the bedrooms, providing terraces to all of them and a pool.

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