From the Red Books of Humphry Repton to Digital Visualizations, A Pedagogical Review. Hooman Koliji Assistant Professor University of Maryland

Transcription

1 From the Red Books of Humphry Repton to Digital Visualizations, A Pedagogical Review Hooman Koliji Assistant Professor University of Maryland

2 Humphry Repton s Drawing

3 Humphry Repton s Drawing

4

5 BEFORE : : AFTER

6 BEFORE : : AFTER Existence : : Non-existence

7 Philosophical Home for Representation Rene Descartes ( ) cogito er go sum ( I think therefore I am )

8 Philosophical Home for Representation Rene Descartes ( ) cogito er go sum ( I think therefore I am ) Anti Cartesian Perspectives St. Augustine Giambattista Vico Marcilio Ficino Joseph Schelling

9 Philosophical Home for Representation Human s Faculties of Perception/Cognition INTELLECT IMAGINATION SENSES

10 DRAWING and UNDERSTANDING DRAWING WORLD OF PHENOMENA SENSORY DRAWING IMAGINATIVE NARRATIVE DRAWING SPATIAL CONFIGURATION CONCEPTUAL DIAGRAMS ANALYSIS

11 VISUAL REPRESENTATION AND LANDSCAPE EDUCATION Drawing is the work of designers Paul Ricoeur quoted in Olin (2008). p.141 Drawing is what we actually make. Olin (2008), p.141

12 VISUAL REPRESENTATION AND LANDSCAPE EDUCATION Drawing is the work of designers Paul Ricoeur quoted in Olin (2008). p.141 Drawing is what we actually make. Olin (2008), p.141

13 DRAWING :: KNOWLEDGE DESIGN :: REPRESENTATION VISUALIZATION :: KNOWLEDGE RESEARCH Can we verbalize all what we know?

14 Visualization of Intellectual Concepts Concept drawings provide the framework for organizing our ideas. They are strategic representations that force the designer and viewer to discover additional possibilities. - Landscape Architect WALTER HOOD (in TRIEB 2009, P.58)

15 Sasaki Associates, Upenn Development, Source: ASLA.org

16

17 DRAWING SPATIAL CONFIGURATION Axonometric: Intellectual View of the Architect

18 DRAWING SPATIAL ORDER

19 DRAWING ANALYSIS

20

21

22 Imagination and Visualization... what is crucial in the consideration of architecture is not seeing but the apprehension of structures. The objective effect of the buildings on the imaginative being of the viewer is more important than their being seen. In short, the most essential characteristic of the architectural drawing is that it does not take a pictorial detour. -Walter Benjamin They [drawings] are experimental operations that stretch the imagination - Walter Hood

23 In consolidation of his own theory of image, Giambattista Vico established a contrast between intelligible universals (universali intellegibili) and imaginative universals (universali fantastici) in determining the aim of a new "scientific" research. By questioning of the aridity of the "rationality" of Cartesian thinking, he promoted a "mental glossary of images," a thesaurus of intelligible universals embodied in meaningful theoretical images. Considering human institutions as the only possible source of human knowledge, the Neapolitan philosopher developed a new science, the science of imagination. The search for intelligible universals is described by Vico as the product of a rational, but soporific mind (the French: esprit), whereas the search for imaginative universals is seen as an outcome of a productive poetic mind (the Italian: ingegno) -Marco Frascari

24

25

26

27 Sensory Visualized Sensory and Landscape Visualization The landscape is primarily a medium that irreducibly rich in sensual and phenomenological terms.

28

29 Drawing is, in fact, the discipline that connects sight and knowledge. The act of seeing, since it allows us to enter into knowledge of the world of things in which we live, is the first and foremost means by which we come to possess these things. To take this one step further, the connection between drawing and knowledge can be thought of as the natural extension of the relationship between sight and the outside world. It can be said, then, that drawing is knowledge. Therefore, there exists no better demonstration of our knowledge of the external world than the ability to draw it. Through drawing we strive to possess the world that exists outside us, and to make it part of ourselves. Moneo, J. (1987, p.2) Quote in Wood (2002).

30 FUNCTIONS OF THE DRAWING DRAWING is CAPTURING DRAWING is CASTING

31 CATCH and CAPTURE Sunset at Sea Ranch, Lawrence Halprin, 1979, Adopted from:

32

33 CASTING Landscape architectural drawing is not so much an outcome of a reflection on a preexisting reality, as it is a productive of a reality that will later emerge. James Corner (2002, p.145)

34 THE WISDOM of THE DRAWING Making Visible the Invisible Making Tangible the Intangible

35 THE WISDOM of THE DRAWING VISUALIZATION as a Hermeneutical Cycle (Capturing and Casting) (Interpretation and reinterpretation) VISUALIZATION as Creative Inquiry (Inductive vs Deductive) (Action research using all human faculties) VISUALIZATION as Conversation with Situation (Reflective Practitioner) (Knowledge of Particulars)

36 Concluding Remarks: Word and Image Narrative I deliver my opinions in writing, that they might not be misconceived or misinterpreted. -Humphry Repton The drawing is like a sentence in a text, in which the word is a detail.... a detail helps incorporate a thought. -John Hejduk

37 Concluding Remarks: From Picturesque to Construct

38 Concluding Remarks: The Scene and the Screen

39

40

41

42

43

44 DRAWING CONCEPTUAL DIAGRAMS

45

46 DRAWING SEEING I want to see things. I don t trust anything else. I place things in front of me on the paper so that I can see them. I want to see therefore I draw. I can see an image only if I draw it. Carlo Scarpa Murphy, Richard. (1990), Carlo Scarpa and Castelvecchio. London: Butterworth Architecture, p.12