The Winners and Commended Entries of this year’s One Drawing Challenge, Architizer’s hugely popular architectural drawing competition, have been announced, showcasing the power of drawings to communicate complex ideas about the built environment.
Among 100 exceptional finalists, there were some standout examples of how drawings can be a medium for telling stories — not only about our built environment but also about our wider world. As illustrated by our entrants, an architectural drawing has the power to reveal new perspectives about the impact of architecture on society, communities and individual people.
In honor of this power, we’ve introduced a series of new, narrative-driven awards for this season’s One Drawing Challenge, called the “Storied Drawing Awards”. As selected by Architizer’s Editorial team, the authors of the following drawings each merit special attention for their creative approach to crafting images in response to a series of narrative prompts:
- Utopian Vision
- Dystopian Warning
- Fantasy Island
- Sci Fi Streetscape
- Sustainable City
- Political Narrative
- Climate Change Future
- Awe-Inspiring Atmosphere
And a further two, as defined by our entrants:
- Architectural Assemblage
- Impossible Space
Without further ado, explore the detailed and imaginative Winners of the 2022 Storied Drawing Awards, and get inspired for your own architectural sketches, paintings, models and beyond:
“Ever Given Ever After: Suez Canal Obstruction Rethought“
By Manuel Ragheb, ppp Architekten
Storied Drawing Theme: Political Narrative
“In March 2021, an Evergreen container ship blocked the Suez Canal waterway for six days. In a scenario in which the ship had never managed to leave the canal, people in need of homes would have brought their lives aboard. While the Egyptian government has been dragging people out of their homes in Warraq and Sinai as development plans move forward, people are forced into poorly planned habitats that pay no real attention to people’s needs or their economic activities.
Not only are people entitled to the right to shelter, but also to one that guarantees a high life standard with consideration to the way people earn their livings. Urban development plans should target local inhabitants rather than investments that disregard the human factor. Only then, people can be part of a better urban future. The mural portrays people building their own homes on board the container ship.”
“Towards a New Venetian Landscape – An Inhabited Linear Infrastructure“
By Nicolas Coppieters and Gabin Sepulchre, Université Catholique de Louvain-la-Neuve
Storied Drawing Theme: Sustainable City
Detail
“Venice being one of the most famous city in the world, we are all aware of its biggest problems: the perpetual flooding and its exposure to mass tourism. But there is another considerable problem in Venice and its lagoon: an ecological crisis. During a year, we tried to find a solution to solve all its problems by creating an inhabited linear infrastructure.
Its foundations were created like a dam to control the “acqua alta” phenomenon, its first floor used for the new seaweed production, and the upper floors to welcome workers and Venetians fleeing their overcrowded city. We reviewed a lot of ancient linear cities to create a new ecological one (in its conception and purpose). We tried to find the right balance between industrialization and human happiness. Our handmade drawing, summarizing a full year of work, was made with the Pointillism technique and was 1788mm x 841mm.”
“Labyrinth”
By Eric Pham, University of Texas at Arlington
Storied Drawing Theme: Fantasy Island
Detail
“This piece recounts a childhood memory of playing video games without being able to understand English. It recalls not being able to read directions, being locked from progressing, and yet never feeling frustrated. Instead, simply playing games deprived of narrative context, viewing them purely as representations of spatial conditions. In the same way, this piece was made entirely in the video game Minecraft, a game that defined a generation by acting as virtual legos. Any child with a copy of this world can explore in an intuitive first-person experience. It is architecture without language.”
“Mycelium Modularity”
By Dustin Wang, Young Guns Studio
Storied Drawing Theme: Climate Change Future
“This drawing illustrates a forest that has been populated with housing pods made out of mycelium, conceptualizing the utilization of this material in modular architecture.
Mycelium, a natural fungi found in forests, can form rigid, water-resistant structures when molded and grown. Possessing a flexible form, this allows for the creation of these pods around trees and hills – existing in harmony with nature, rather than replacing it. The resulting effect are teardrop-like structures, differing in shape as each is hand-built.
In this scene, pollution is the origin of the hazy, grey sky. With plastic and waste reduction having become an everlasting consequence, mycelium is used in this small community of hopeful outliers, being a last ditch effort to slow down the deep-rooted repercussions of the changing climate.
In an inevitable future where the natural lives in the artificial, the increased awareness of the benefits of mycelium, will aid in revitalization.”
“URBAN NET”
By Alena Dolzhikova, A4 Studio
Storied Drawing Theme: Sci Fi Streetscape
“The drawing is a vision of a future city based on the building project design of the A4 Studio.
What if the Architecture we build today would be able to proceed developing into entwined bodies, uniting buildings of the past with future forms? What if buildings could be inhabited with a living organism that flourishes into new forms while adapting to the shape of available structure? What if the livable organism constructing future environment turns the building into so-called a neuron cell?
It would contain all the valuable information, DNA of a particular building. The city organism consisting of cells would create connections — bridges between each other, for a mutual exchange of information. Some their bridges will be thicker, some thinner — depends on the amount of information transporting trough it. The overall connections create an URBAN NET — final but never ending evolving version of the future city.”
“Threshold”
By Kenan Pence and Deniz Calisir Pence, Kenan Pence / Design Office
Storied Drawing Theme: Dystopian Warning
“Threshold: The focal point of the picture is a human standing on the water’s surface, facing the light (referring to the Truth) diffusing from a cracked wall in an uncanny cave. The philosophy of art and visual arts questioning the “reality” and “illusion” frequently refers to Platon’s “the allegory of Cave”. The picture uses a cave metaphor as well as a “the allegory of uterus” referring to the human’s first home which is conceptualized by the curvilinear forms.
In this context, space means “existence”. The picture merges both metaphors to create a conceptual architectural space representing a contemporary critical interpretation. The cave symbolized by the architectural space of the picture has metaphoric shadows that represent illusions built by power. The human at the threshold is left systematically created chaos behind in need of finding new hope.”
“Architecture of Insecurity”
By Seungho Park
Storied Drawing Theme: Architectural Assemblage
“During its rapid growth in the late 1800s, New York City formed most of its current modern city fabric. As a city of immigrants with its own cultural insecurity, New York borrowed the architectural style of its diverse ancestral European roots in an attempt to create a historic urban context. This European influence, combined with the advancing construction technology and socioeconomic factors of the time, forged a unique architectural environment. Architectural elements of different origin, whether ornamental or functional, were melded into New York’s building facades; architectural manifestation of “insecurity”.
The drawing mimics and exaggerates the architectural evolution of the city by displacing and fragmenting the buildings and architectural elements from their origin and context. Does the reassembly of the architectural fragments give us an extreme New York City? Through assemblage and abstraction, what can architects learn from it?”
“More Was More”
By Gregory Klosowski, Pappageorge Haymes Partners
Storied Drawing Theme: Utopian Vision
“This drawing imagines an alternate reality and economic reverie where the Great Depression never happened, a need for stripped to the basics skyscrapers averted, and the stylistic impressions of the era continued to roar for decades onward. This depicts a parallel Chicago, devoid of modernist glassy structures. A staggered stone skyline is a hazy backdrop to airships hovering at startlingly low altitudes.
Flight mechanisms with robotic precision, advanced echolocation, exact three dimensional positioning, and miniaturized drones allow for all manners of ability to defy gravity…affording anyone the ability to gracefully, and accurately, fly within the glowing limestone canyons. The drawing is rendered in ink pen and colored pencil with a warmth and technique characteristic of, and inspired by, period watercolor renderings.”
“Lost to the City”
By Alex Hoagland, Boston Architectural College
Storied Drawing Theme: Awe-Inspiring Atmosphere
“Depicted is a city that has yet to exist, one where passion, freedom and love fill the towers that rise above, an example of the pleasures art can bring, the idea that like people buildings represent individualism. What is depicted in drawing is a world where art, math and science become the forefront of the built environment and humans are able to liberate themselves from the natural world.
In this city scape the understanding of raw emotion and how that correlates too the work we as humans produce and environment we surround ourselves with is the key to understanding the longevity of our own mentality and livelihood. This cityscape represents the separation between ones self and the greater good of the others around, it signifies a liberation of the human conscious.”
“The Red-Wall Maze”
By Dong Fu, Zephyr(US) Architects P.C.
Storied Drawing Theme: Impossible Space
“Stair mazes will always be dynamic structures for the human spatial experience. Humans have the instinct to create infinite space through limited materials so that a certain relationship can be formed between limited life and the infinite universe. Stairs are important elements of a maze — connecting different heights and circulating up and down. The winding pink staircases, the main subject of this drawing, give the building a very large number of possible paths, forming a complex labyrinth.
At the same time, I utilized Escher’s impossible space in such a way that the upper part of the drawing is a space facing up, and the lower part faces down. In this way, at the shared edge of the two spaces, a person needs to make a 90-degree rotation of the body to complete the crossing between the two parts, similar to scenes of the movie “Inception.””
Congratulations to our 2022 Storied Drawing Award Winners! As the art of architectural representation continues to evolve, so will our competitions and awards programs, in order to accurately reflect the incredible ability of architects, designers and creative people to communicate complex ideas about the built environment. Sign up for our newsletter in order to be notified when our next evolution is announced, with bigger, bolder opportunities set to emerge in 2023:
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The post 10 Narrative-Driven Architectural Drawings Win the “Storied Drawing Awards” appeared first on Journal.
IM-KM paid special attention to material selection and spatial layout, seeking to create a home in which each space is uniquely designed to enhance the client’s sensory experience: “As we designed each of these spaces, we wanted them to have unique qualities of sound, materials, and light, that become integrated components that enhance the user’s experience and create specific memories of the place.
“This was achieved by hierarchically separating the spaces by a series of steps and platforms that are surrounded by gardens that attract biodiversity. As you circulate, each space becomes gradually more intimate until you reach the bedrooms and their private gardens. The ocean and fountain provide different acoustics depending on which space or garden you are in, and the shade from the various trees and palms create shadows that move around with the ocean breeze.”
The architects sought to create a hierarchical sequence of spaces that would offer inhabitants a sense of escape as they transition between each living space. IM-KM explained: “The pavilions of the main house are all balanced around the central pavilion which contains the vestibule and indoor and outdoor living rooms. From this central space, you transition from the modern world to somewhere else, where you can forget your day, and just be on holiday.”
Utilizing LaCantina’s sliding door systems, the façades of each pavilion are fully operable. When opened, the perimeter of the interior spaces become permeable and create a single larger room including the adjacent garden spaces and the ocean at the horizon. “When passing through the modern pavilion — from the vestibule into the outdoor living room — you are compressed and released into the vastness of the outdoor living room which looks out to the sea and the surrounding playful roof forms. It is meant to be an exciting, all-encompassing transition,” said the architects.
Casa Loro powerfully demonstrates how smart material and product selection can enable a seamless transition between interior spaces and the surrounding landscape. IM-KM’s adept use of LaCantina Doors systems helped create a serene home that is intimately connected to the unique natural environment of Panama, while producing an open-plan layout that is flooded with natural light. The house is proof that, when the right building products are employed and the details are well considered, a “Best in Show” outcome is possible.
“Cafe Palace selected a series of plans of landmark buildings with different cultural backgrounds according to the composition of immigrants in the block, which served as the inspiration and design starting point of the overall underground space layout. Through the redefinition and blend of different architectural styles, an architectural atmosphere similar to the situationist concept was created.
“The conversation around future space travel intensifies, illustrating an intrinsic tension between a childlike excitement towards space travel and a corrupt governmental elitist control. As the world we know deteriorates under our feet, we desire to preserve, to resist, to survive. Fable or Failure takes an architectural approach of dividing a traditional spacecraft into three sections.
“In March 2021, an Evergreen container ship blocked the Suez Canal waterway for 6 days. In a scenario in which the ship had never managed to leave the canal, people in need of homes would have brought their lives aboard. While the Egyptian government has been dragging people out of their homes in Warraq and Sinai as development plans move forward, people are forced into poorly planned habitats that pay no real attention to people’s needs or their economic activities.
“Stair mazes will always be dynamic structures for the human spatial experience. Humans have the instinct to create infinite space through limited materials so that a certain relationship can be formed between limited life and the infinite universe. Stairs are important elements of a maze—connecting different heights and circulating up and down. The winding pink staircases, the main subject of this drawing, give the building a very large number of possible paths, forming a complex labyrinth.
“Peter Eisenman commented on John Hejduk’s Berlin figures that they are not architecture “because you can’t get in them.” To which Hejduk replied, “YOU can’t get in them.” The work questions the degrees of accessibility in which users/participants can have agency/authorship to a piece of architecture. The notion of authorship can be understood as a form of intellectual property, where participants can only be allowed to travel with the designer through the meaning/essence of the work using their imaginations, only if the work was explained to them.
“Dear Diary,
“Chungking Mansion is located in Hong Kong. It has brought together traders and asylum-seekers from South Asia and Africa, temporary workers from India and cash-strapped tourists from all over the world. It is a building that represents “low-end globalisation”.
“The world was once filled with secluded and mysterious villages. The populations of these villages each lived and died in their own immaculate beliefs, traditions, and laws, their respective cultures untouched by the outside world for eons. With what land, sea and sky would offer, they would farm, herd, weave, build and worship, all in harmony with the cycles of nature.
“During its rapid growth in the late 1800s, New York City formed most of its current modern city fabric. As a city of immigrants with its own cultural insecurity, New York borrowed the architectural style of its diverse ancestral European roots in an attempt to create a historic urban context. This European influence, combined with the advancing construction technology and socioeconomic factors of the time, forged a unique architectural environment. Architectural elements of different origin, whether ornamental or functional, were melded into New York’s building facades; architectural manifestation of “insecurity”.
“Art Expose is a Public Fabric Art Forum aiming to raise awareness and mend inequities within Melbourne’s art scene alongside a fibre arts community. Putting the public in the central spine, the discursive architecture seeks to mediate between prosperous art dealers and struggling artists. The scheme arms the public with tools for measured amounts of active and passive surveillance of art production, storage and sales.
“The Atlas – a loose assemblage of maps. It constitutes a multitude of scales within itself. It links between the content and its representations, creates relationships, and references – a hyperlink into the digital space. The atlas holds the weight of the digital mesh.”
“The drawing is a capriccio depicting a post-apocalyptic Semporna as a ‘debrisity’ serving as a reminder that anthropogenic coastal and ocean debris is never another speculation but a reality. The notion of this drawing is to question the precarity whilst disseminating the importance of waste management and striving for the betterment of the settlement and marine life of Semporna. Cities across the globe are sharing the same fate in that unless we become more conscious about the impact of marine debris, they are destined to bear the brunt of human activities. Water is quintessential to support all forms of life yet paradoxically, human narcissism has laid and continues to lay waste to cities that are granted access to the paramount gift of nature, water, turning the ocean into a gigantic dumpster.
“Content with the limitations of their small apartments and quaint terraces, warmly greeting their neighbors, and strolling among the stepped streets, the citizens of Synopolis greet the sunset each evening with decanters of bubbly concoctions, slowness in their constitutionals, diving into delectable sweets, and chatting away the day’s trials and travails over stacks of plates of tapas.”
“This drawing imagines an alternate reality and economic reverie where the Great Depression never happened, a need for stripped to the basics skyscrapers averted, and the stylistic impressions of the era continued to roar for decades onward. This depicts a parallel Chicago, devoid of modernist glassy structures. A staggered stone skyline is a hazy backdrop to airships hovering at startlingly low altitudes.
““This day has come, my young apprentice!” – said Remio Kulhassio, founding partner of the renowned architecture studio in Fornio, Italy.
“‘Ronin’s Lair’… an environment that lies between two parallel universes. These series of spaces are a continually morphing and warping training grounds for the ‘wayward samurai’. They are part Japanese Edo Period and part digital future, they are neither today nor tomorrow… they are in a continually shifting threshold space; a warped interim and an evolutionary and non-chronological series of physicality’s and landscapes. My explorations also lie within 2 worlds of the analogue and the digital, my submission is one of the analogue (ink on parchment paper) and it is one of a series of many such explorations in digital, analogue, and hybrid mediums.”
“If we strip away the technological advances of virtual reality and artificial intelligence, how do we ensure our ability to feel still exists in this digital age? Inspired by the Teatro Del Mondo “Floating Theater” (Aldo Rossi, 1979), this temporary structure floats in Tokyo Bay and is set to open every summer as a metaphor for the Japanese idiom: Ichi-go Ichi-e (one encounter, one chance), a celebration of the unrepeatable nature of every single moment.
“Threshold: The focal point of the picture is a human standing on the water’s surface, facing the light (referring to the Truth) diffusing from a cracked wall in an uncanny cave. The philosophy of art and visual arts questioning the “reality” and “illusion” frequently refers to Platon’s “the allegory of Cave”. The picture uses a cave metaphor as well as a “the allegory of uterus” referring to the human’s first home which is conceptualized by the curvilinear forms.
“Many see in architecture the plan, section, elevation, axonometric, and BIM model; mathematical conventions communicating the means of construction. However, drawing by measurement to prescribe beyond the floor, walls, and roof is a perverse overstep; measurements cannot make singular the continuous performance of everyday living.
“The drawing depicts the possible future of architecture, where buildings are grown organically using programmable bionanobots and natural materials that automatically assemble and fuse chemically via biological mechanisms. buildings will be grown.”
“Examples of architecture can too often be seen as solid objects, but of course, they are not. They contain spaces, voids in which humans interact, work and play, love and live. In this sense, the volumes contained by architecture are the collective kinetic stories of all who have gone before and will yet arrive. This drawing – “Up” – explores the energies of that process, the ideas of entrance and exit, of doors and stairways that we all employ to knit our internal lives to the external world and in some silent way, to one another and to time itself.”
“Perched in the soaring West Coast treeline, accessed by pully operated elevator cabs, the Lift Cabins provide the ultimate nature-immersion experience. Ride up as a solo cabin’er or get extra cozy with a +1, enjoy your time way up high, just below the sky!”
“In cold grey concrete and abstract forms, spomeniks are monuments imposed on remote historical sites as the symbol of unity during the socialist Yugoslavia. However, as they became associated with opposing ethnic groups during the 1990s Yugoslav Wars, many were destroyed and vandalized as the prime targets for hate crimes. Today, they are the embodiment of war and violence.
“In cold grey concrete and abstract forms, spomeniks are monuments imposed on remote historical sites as the symbol of unity during socialist Yugoslavia. However, as they became associated with opposing ethnic groups during the 1990s Yugoslav Wars, many were destroyed and vandalized as the prime targets for hate crimes.
“Long, long ago in a galaxy not so far away… there was a place named “Meeting of Cultures” which marked in Sarajevo where the eastern Ottoman empire kissed western Austro-Hungarian. On this historically diverse landmark where nobody is meeting, and among the ruins of Yugoslav Brutalist monument laid like scars to the ethnic division, clouds of simple materials – wood sticks and nails – formed modular polyhedron units. They bonded into seats, tables, movie screens, theatrical platforms… all of which allows for long-lost nostalgic dialogues. Eventually, Urban Sijelo was concieved.
“Urban Sijelo is the materialization of an old Yugoslav concept Sijelo – a social evening gathering featuring traditional music and amusement. The assembly intends to bring people together through endless possibilities in forms, allowing for various leisure communal functions illustrated. The versatile spirit is enabled by multiple 1′ – 6″ polyhedra, the homage to our inspiration K-67 – a modular, spaceship-lookalike kiosk associated with day-to-day memories of the united socialist Yugoslavia.”
“Hsinta Ecological Power Plant really wanted an innovative design to establish its green corporate image. Yet is it possible to design the three chimney stacks that breaks away from the industrial past? How do we deal with this issue honestly while balancing the fact of energy consumption vis-à-vis conservation of wildlife? What if the building’s skin generates wildlife, becoming an interface for social and environmental uses?
“Every year, we build taller buildings. Our cities are becoming taller and taller without taking into consideration the natural surroundings. Our cities become more polluted as they become more crowded. Have you thought about the future? Have you considered our children? They are our future.
“The people of Bosnia & Herzegovina yearn for a sense of unity, once shared by South Slavs during the golden years of late Yugoslavia. The loss of unification in a diverse field of ethnicities, coupled with following years of ravishing war, have instilled an intense feeling of what was now only a nostalgic memory. The government inflicted Spomeniks of the Yugoslav era, now represent the conflicts further perpetrating division and plaguing the Bosnian people.
“Design Image for a Modern house in the Hudson Valley. The perspective drawing shows the easy transparency of the public rooms, fostering an inside-outside connection for the family who will dwell here. The house employs western red cedar, local sandstone, and salvaged oak flooring to lend a rustic feel to the architectural crispness. The soft pencil drawing helps to convey this feeling.”
“This is a drawing of the near future in Hiroshima Hatchobori intersection.
““Civilization has done little for labor except to modify the forms of it’s exploitation” – Eugene V. Debs
“The etymology of a Monsters is to not scare, but rather to show and reveal hidden truths.
“The Woven City – an interlaced architectural landscape with a complex array of structures, materials and textures forming part of a cohesive whole.
“Mercato, Africa’s biggest open-air market located in Ethiopia, is a neighborhood of informalities under the danger of urban erasure by insensitive developer projects. Searching for a solution that can both densify and respect Mercato’s existing social networks, the project looks at architecture through the users’ daily lives and traditions rather than standardized formal methods architects are trained to use and investigates architecture’s potential as a stage that allows creating stories. Through the use of the section cut, the drawing reveals a glimpse of daily lives of Ethiopian women in the project. Nothing is static about the project but the constant dynamism. The section welcomes us to the center with all of the market’s smells, noises and textures, but finds calmness in its architectural expression.”
“Three iconic pieces of modernist architecture, one each of three architects that we might call pillars of modernism, stack upon one another forming a pedestal. Sitting atop rests a piece, studied and acknowledged, yet somehow less celebrated. Eileen Gray’s E-1027 built upon foundations developed by Le Corbusier, Mies Van Der Rohe, and Frank Lloyd Wright, to develop a design that would become coveted by at least one of them. The piece is held together by its own voids, also acting as the glue holding the pedestal intact to further build upon.”
“A Garden Reconsidered explores the notions of divine beginnings/middles/ends and of earthly past(s)/present(s)/future(s) that exist simultaneous, cyclical, and linear. It is an exercise of what might lie behind the facade of divine follies conceived of centuries ago.
“This drawing essentially warns us about what it would mean for a country such as the US to re-elect the ‘unmentionable’ back for president in 2024 — just in case people forgot about him already.”
“The main character in the story is based on a building from hundreds of years ago, the Sendai Mediatheque.
“Boyle Heights is often seen as a separate entity to the overall Downtown Los Angeles area. This separation translates physically by this historic district barriered between Eastern Los Angeles freeways and the LA river. However, part of this barrier renews and keeps Boyle Heights prominent and preserves the present Hispanic Community. But, part of this separation has been slowly deteriorating in certain sections like first street that bridges Boyle Heights with neighboring communities.
“The architecture we know now is created with the elements of the “body” that is the earth. A bird’s nest is just as architectural as any man-made structure, but one is considered “nature” while most man-made architecture is not. Partly this is because much of human architecture is, whether desired or not, harming the body of the earth.
“The cathedral as a cross roads signifies a convergence of the community at large. The plaza opens wide to embrace all that approach. This edifice’s presence symbolizes the community’s strength and beckons all to gather. Its towers reach to the heavens reminding one to embrace the beauty in daily life. The cathedral endures and embodies the community’s past, present, and future.
“Through the interlacing of two distinctly different cities – Downtown Los Angeles and Boyle Heights – the relation of consistent, cyclical geometry provides a moment for distinct views to take place, fragmenting each cityscape into an abstract piece of solid and void that come together as one.”
“The tower of ilicity is an exquisite corpse that explores the duality of urban city life. Similarly to the SoHo block, the tower stitches together familiar, essential and mundane elements into a randomized agglomeration of components that follow a Truchet aperiodic tiling composition. This stitching together of random parts is a social and spatial condition, that challenges the occupant as they experience the assemblage through the lens of dirty realism.
“A semi-fictional view of an evening in Fengjing, China. All hand-done graphite pencil drawing with watercolour wash.
“Monsoon arrives misery every summer in the City of Chandigarh, Le Corbusier’s modernist metropolis. How does a landscaping intervention protect the city from inundation caused by climate change? Rather than obstruct the water, a network of sunken landforms and water-purifying facilities invites water into the city fabric. Waterscapes are juxtaposed against Le Corbusier’s greenery fingers across the city. Purified water will recharge the deep aquifers, an indispensable water source for commercial and domestic use.
“Alone. Confused. Frustrated. The more I try to hold on to memories that are slipping away from me, the more afraid I am that someday, there will be nothing left at all—nothing but a memory that has been forgotten by time itself.
“Nowadays, demolition waste creates the most significant waste stream in the world. By considering cities undergoing renovation, the author proposes a physical dissection of destructible buildings, their dismemberment and recycling through robotic automation according to their structure, material and condition. Specially designed machines curate and organize virtual and physical (“theatre”) archives of the targeted buildings under the demolition plan. Newly developed tectonic systems and spaces created in this way can be integrated into the urban fabric in close interaction with the existing landscape. In this way, the connection between the past and the future is built, and the identity and memories of previous generations, which are hopelessly erased in modern society, are preserved.”
“I imagine a future where the only boundaries of architecture are creativity and physics.
“Cafe Palace selected a series of plans of landmark buildings with different cultural backgrounds according to the composition of immigrants in the block, which served as the inspiration and design starting point of the overall underground space layout. Through the redefinition and blend of different architectural styles, an architectural atmosphere similar to the situationist concept was created.
“The Galveston Bay Park Plan (GBPP) project is a surge flooding protection, navigation enhancement, public recreation and environmental enhancement project that is unique in its scale, impact, innovation, and long-term adaptiveness. The GBP approach will be transformative to the Galveston Bay region by creating a permanent thirty-mile landmark that is central to the region’s resiliency strategy, economic vitality, habitat preservation, and standard of living.”
“This is a painting about the concept of architecture expressed through images in a dream world. The theme of the painting revolves around the culture of coffee and the society that is triggered by coffee as a sober dependency of people.
“A new stage in urban sprawl in a context of physical, environmental and energy insecurity: a pioneering and vertical colonization of abandoned places in urban or industrial centers. Of course, properties are being protected and mobility is being adapted, far from the architectural utopias. Factories are still running, weighing down a starless sky that vanity jets cross, each for himself, more than ever. After all, the garden is not doing so badly; as for the fauna, it is less certain.”
“This work depicts an interior view of a house we built in Whitechapel. The view is of the main ground floor living space, looking south to towards the courtyard. The space has contrasting volumes, with the large diagrid lantern light glazing contrasting with the lower perimeter spaces. I was interested examining the way in which the space is lit naturally, and how the fall of natural light affects the volumetric impression of the space. I felt that this required an image of high contrast. I tried to depict that wonderful time of day in early summer, when the sun has almost disappeared, but where the light remains vivid, and where the areas of the interior not directly lit recede into the increasing darkness.
“Iconic architecture enjoys celebrity status, a fame generated by the dissemination of glamorous images presented to the public for admiration and praise. While the formal language of this “star-chitecture” varies widely around the world, these static icons share rarified air in the top-ten lists and google searches where their images are most commonly consumed.
“The process of this drawing relies on previous reiterations from an earlier collage of building constructions, which fragmented into an imaginary landscape of ruins. Using a Xylene transfer of a black and white copy onto plaster, the ghostly images provide a ghost in which new constructions can be developed. The idea of the city as a continuous palimpsest evokes the nature of how cities transform throughout time by demolition, re-use or new construction. This additive transformation builds on the old to re-invent the composition. As an architectural speculation, the generative process of drawing yields new spaces and forms influenced by the pre-existing context of the ghost collage. These graphic ponderings stitch together the fabric of the old and new, complimenting and contrasting the organic and the man-made.
“The head, the heart, and Everything In Between. A Charlie Chaplin experience provides us humor, joy, and purpose connecting senses, feelings, and thoughts.
“Tied to its age-old exclusion of a ‘Colonial Party House’ Burt Hall reminiscences to days that now are gone. The drawing imagines an Adaptive Habitation future, breathing life into this melancholic giant. Home as an ever-evolving skin; shedding yet rejuvenating.
“Human race is living in the world which has all the impact of socio political, chaotic crisis and environmentally modified world. Weather its pandemic or any other natural disaster which is shaping up our society and climate. It’s the spirit of time which bring the evolution to any entity. No vision can be drawn by itself, it needs to have a situation, which brings the desire to accomplish absoluteness.
“Humanity has resorted to forsaking their flesh for the planet’s survival, and thus exists as immortal, machine lifeforms, as virtualised consciousness within vessels.
“Drawing from EM Forster’s 1909 short story “The Machine Stops”, this allegorical architectural drawing re-presents a seminal tale of environmental devastation caused by the 1860 New Zealand goldrush. Propelling the Otago region into economic prosperity, the mining operations were abandoned once the gold dried up—the forgotten industrial artefacts, environmental scarring, and their historic narratives slowly decaying over time, destined to be lost forever.
“A Dystopian metropolis constructed with on top of multiple levels of roads, Buildings and Structures. Sky ships deliver cargo from the air, while logistical lorries, tucks and cars services the city from the complex network of elevated highways. A place to explore endlessly.”
“The Choice” portrays a person standing on the brink of decision. He or she began life in today’s world, which is pictured behind them in a dim cityscape. The reason for the landscape tilt illustrates the uneasy feeling that we often get in life that things are not quite right. The personal decision that every human faces is represented: joining either utopia or dystopia.
“The wall wasn’t just there, it was everywhere. My gaze wandered endlessly and yet the wall seemed to move. What did you separate me from? The deeper I looked into it, the less I could grasp it and the more complex its structure became. It seemed to me that the wall was looking for a counterpart. She was a surreal lonely reality and my soul could see no beginning or end. Unlimited truth and infinite questions.
“Nature has always inspired architects. The famous architect Mies van der Rohe suggested that details are essential for architectural drawings as they are essential in nature. He used the term “God is in the detail” to emphasize this point. The infinite level of detail in nature is an abstract concept. In order to visualize this concept, I have drafted an architectural-themed cosmology drawing. This drawing is characterized by some scientific infographic about nature and an artistic interpretation of the universe.”
“Art cannot solve humanity’s problems, but it can be a refuge from daily frustrations or make us temporarily forget about problems by visiting a gallery, listening music etc.
“Observation and imagination. The white lines are a wireframe perspective of GOMA (Gallery of Modern Art) which sits on the Brisbane River at Kurilpa Point (Queensland, Australia). Using early photographs of European settlement, explorers’, convicts’ and botanist’s’ accounts along with indigenous histories, I was able to site this existing building within a landscape which I imagine would be very similar to that the indigenous population experienced pre settlement.
“I imagine a future where the only boundaries of architecture are creativity and physics.
“Cafe Palace selected a series of plans of landmark buildings with different cultural backgrounds according to the composition of immigrants in the block, which served as the inspiration and design starting point of the overall underground space layout. Through the redefinition and blend of different architectural styles, an architectural atmosphere similar to the situationist concept was created.
“This is a painting about the concept of architecture expressed through images in a dream world. The theme of the painting revolves around the culture of coffee and the society that is triggered by coffee as a sober dependency of people.
“A new stage in urban sprawl in a context of physical, environmental and energy insecurity: a pioneering and vertical colonization of abandoned places in urban or industrial centers. Of course, properties are being protected and mobility is being adapted, far from the architectural utopias. Factories are still running, weighing down a starless sky that vanity jets cross, each for himself, more than ever. After all, the garden is not doing so badly; as for the fauna, it is less certain.”
“This work depicts an interior view of a house we built in Whitechapel. The view is of the main ground floor living space, looking south to towards the courtyard. The space has contrasting volumes, with the large diagrid lantern light glazing contrasting with the lower perimeter spaces. I was interested examining the way in which the space is lit naturally, and how the fall of natural light affects the volumetric impression of the space. I felt that this required an image of high contrast. I tried to depict that wonderful time of day in early summer, when the sun has almost disappeared, but where the light remains vivid, and where the areas of the interior not directly lit recede into the increasing darkness.
“Iconic architecture enjoys celebrity status, a fame generated by the dissemination of glamorous images presented to the public for admiration and praise. While the formal language of this “star-chitecture” varies widely around the world, these static icons share rarified air in the top-ten lists and google searches where their images are most commonly consumed.
“The head, the heart, and Everything In Between. A Charlie Chaplin experience provides us humor, joy, and purpose connecting senses, feelings, and thoughts.
“Tied to its age-old exclusion of a ‘Colonial Party House’ Burt Hall reminiscences to days that now are gone. The drawing imagines an Adaptive Habitation future, breathing life into this melancholic giant. Home as an ever-evolving skin; shedding yet rejuvenating.
“Human race is living in the world which has all the impact of socio political, chaotic crisis and environmentally modified world. Weather its pandemic or any other natural disaster which is shaping up our society and climate. It’s the spirit of time which bring the evolution to any entity. No vision can be drawn by itself, it needs to have a situation, which brings the desire to accomplish absoluteness.
“Humanity has resorted to forsaking their flesh for the planet’s survival, and thus exists as immortal, machine lifeforms, as virtualised consciousness within vessels.
“Drawing from EM Forster’s 1909 short story “The Machine Stops”, this allegorical architectural drawing re-presents a seminal tale of environmental devastation caused by the 1860 New Zealand goldrush. Propelling the Otago region into economic prosperity, the mining operations were abandoned once the gold dried up—the forgotten industrial artefacts, environmental scarring, and their historic narratives slowly decaying over time, destined to be lost forever.
“A Dystopian metropolis constructed with on top of multiple levels of roads, Buildings and Structures. Sky ships deliver cargo from the air, while logistical lorries, tucks and cars services the city from the complex network of elevated highways. A place to explore endlessly.”
“The Choice” portrays a person standing on the brink of decision. He or she began life in today’s world, which is pictured behind them in a dim cityscape. The reason for the landscape tilt illustrates the uneasy feeling that we often get in life that things are not quite right. The personal decision that every human faces is represented: joining either utopia or dystopia.
“The wall wasn’t just there, it was everywhere. My gaze wandered endlessly and yet the wall seemed to move. What did you separate me from? The deeper I looked into it, the less I could grasp it and the more complex its structure became. It seemed to me that the wall was looking for a counterpart. She was a surreal lonely reality and my soul could see no beginning or end. Unlimited truth and infinite questions.
“Nature has always inspired architects. The famous architect Mies van der Rohe suggested that details are essential for architectural drawings as they are essential in nature. He used the term “God is in the detail” to emphasize this point. The infinite level of detail in nature is an abstract concept. In order to visualize this concept, I have drafted an architectural-themed cosmology drawing. This drawing is characterized by some scientific infographic about nature and an artistic interpretation of the universe.”
“Art cannot solve humanity’s problems, but it can be a refuge from daily frustrations or make us temporarily forget about problems by visiting a gallery, listening music etc.
“Observation and imagination. The white lines are a wireframe perspective of GOMA (Gallery of Modern Art) which sits on the Brisbane River at Kurilpa Point (Queensland, Australia). Using early photographs of European settlement, explorers’, convicts’ and botanist’s’ accounts along with indigenous histories, I was able to site this existing building within a landscape which I imagine would be very similar to that the indigenous population experienced pre settlement.
