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An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

An unconventional final review site for UVA. Kyle Schumann’s amazingly beautiful “wiggly” woven wood design build studio sited at Morven. Phenomenal work! #architecture #architectureanddesign #architecturelovers @aschool_uva @afterarchitecture @archdaily @archinect

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Fantastic (and fantastical) set of provocative and speculative thesis projects in the “Iridescent Irises” studio led by Perry Kulper @pkulper. Amazing, fascinating and awe-inspiring as always. Works by students: Mira Abdalla, Mortmer Ackerman, Shonit Kotian, Wang Kin (Justin) Ng, Erin Roberts, and Roman Marra. @umich.taubmancollege #architecture #architecturaldesign #draw #drawing

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Amazing architecture thesis studio: Concrete Labor_Circularity, led by Tsz Yan Ng (tn) @tszyan5 at the University of Michigan exploring the relationship between concrete and its formative process. “Formwork” ranged from origami folded cardboard to woven textiles to robotically shaped clay, generating a wide range of projects including: “Cured Creases” by Felix Lam and Andrew Masternak, “Soft Shell” by Guanjingchan Xu and Kristen McCullough, and “Clay Things” by Jessco Zhang and Zihang Wang. @umich.taubmancollege @concretelabor #architecture #architecturaldesign #digitalcraft

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

Fantastic to be back at CCA on final reviews to see the amazing work of Jason Johnson’s @futureformslab studio. Such a pleasure to feel the energy, creativity, and dedication of such a talented group of people.#architecture #architectural_design #digitalcraft @cca.digital.craft.lab @cca_arch_div

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

In 1967, artist Sol LeWitt wrote that the artist’s “idea becomes a machine that makes the art.” He claimed that, in conceptual art, the artist designs a systematic process—a machine—that allows her to create a drawing or some other type of artwork in a step-by-step, procedural way. LeWitt’s ideas about conceptual art and its rule-based methods, are not unlike the way architects design buildings. In the architectural design process, there are procedures and rules, and codes and drawing techniques, that determine how the drawings architects create translate into built architecture. Drawing is our primary medium. It is a form of proto- or para-architecture that precedes or exists alongside the making of buildings. It is within the drawing process that architectural speculation, creativity, and innovation reside.

Although British architect and theorist Robin Evans stated that architects almost “never work directly with the object of their thought, always working through some intervening medium,” which he claimed puts them at a clear disadvantage in relation to other artists, this procedural aspect of architectural drawing, is also what enables it to be a site of intense experimentation when its tools, techniques, and methods are intentionally unleashed from their instrumentalization—that is, from their role in the designing and making of objects, buildings, landscapes, and cities. Drawing then becomes not simply a means, but also an end—an aesthetic object that is simultaneously a work of architecture and a work of art.

This exhibition explored and experimented with the many tools, techniques, procedures, and choreographies of drawing, looking to a rich archive of creative works. We invented mechanisms for transcribing perceptions and experiences, and transcoding objects and information into ways of
drawing, and experimenting with rule-based systems, that, like games, generate an endless variation of outcomes. 5 drawing themes organize the work: ​•ALEATORIC LINES •TEXT + TEXTURE •INDEX AND IMPRINTS •FRAGMENT + FIELDS •CHOREOGRAPHIES and •TRANSCODING MATTERS.

#architecture #archilovers #architecturaldrawing #drawing @sanda_iliescu

More work from Experimental Drawing 3: Index and Imprints. #architecture #architecturaldrawing #drawing

More work from Experimental Drawing 3: Index and Imprints. #architecture #architecturaldrawing #drawing

More work from Experimental Drawing 3: Index and Imprints. #architecture #architecturaldrawing #drawing

More work from Experimental Drawing 3: Index and Imprints. #architecture #architecturaldrawing #drawing

More work from Experimental Drawing 3: Index and Imprints. #architecture #architecturaldrawing #drawing

More work from Experimental Drawing 3: Index and Imprints. #architecture #architecturaldrawing #drawing

More work from Experimental Drawing 3: Index and Imprints. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Experimental Drawing 2: Text + Texture. Work by Emma Lohr, Nick Kaperday, Seongmin Kim, Min Ji Kang, Izzy Hill, Hayoung Ju, Yuchen Han, Paul Duncan and Holden Loder. #architecture #architecturaldrawing #drawing

Aleatoric Lines: work from our Experimental Drawing course by Seongmin Kim, MinJi Kang, Nick Kaperday, and Paul Duncan. @scotttotallynot @minji_spirit @nick.k_arch @sanda_iliescu @aschool_uva #architecture #architectureanddesign #architecturaldrawing #drawings

Aleatoric Lines: work from our Experimental Drawing course by Seongmin Kim, MinJi Kang, Nick Kaperday, and Paul Duncan. @scotttotallynot @minji_spirit @nick.k_arch @sanda_iliescu @aschool_uva #architecture #architectureanddesign #architecturaldrawing #drawings

Aleatoric Lines: work from our Experimental Drawing course by Seongmin Kim, MinJi Kang, Nick Kaperday, and Paul Duncan. @scotttotallynot @minji_spirit @nick.k_arch @sanda_iliescu @aschool_uva #architecture #architectureanddesign #architecturaldrawing #drawings

Aleatoric Lines: work from our Experimental Drawing course by Seongmin Kim, MinJi Kang, Nick Kaperday, and Paul Duncan. @scotttotallynot @minji_spirit @nick.k_arch @sanda_iliescu @aschool_uva #architecture #architectureanddesign #architecturaldrawing #drawings

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

The colorful and immersive tapestries by Eva Jospin as meticulous as her sculptural landscapes. Astounding. #art #tapestry #weaving #landscape @appartatelier.evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Although I am not normally drawn to figurative work, these strange forest landscapes by French artist Eva Jospin, meticulously carved out of corrugated cardboard and layered to produce full scale immersive installations are truly amazing. #art #sculpture #installation #landscape #evajospin

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

Visited the 27,000 acres of Congaree National Park which contains trees that are hundreds of years old, with some bald cypress trees reaching up to 1,000 years old. It represents the largest remaining intact expanse of old-growth bottomland hardwood forest in the southeastern United States. #landscape

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park

at the Great Smoky Mountains National Park