My life as an architecture student

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by gekkoe | Beautiful sketch | Architecture | by @wilfro #architect #architecture #architectureschool #architecturestudent #passion #work #hard #sketch #sketching #archiporn #draw #drawing #artist #art #creative #black #white #handmade #logement #build #flat #warm #sky #sun #design #designer #GEKKOE #website for Architect, Designer and Passionate #comingsoon View Larger

nexttoparchitects:

by gekkoe | Beautiful sketch | Architecture | by @wilfro #architect #architecture #architectureschool #architecturestudent #passion #work #hard #sketch #sketching #archiporn #draw #drawing #artist #art #creative #black #white #handmade #logement #build #flat #warm #sky #sun #design #designer #GEKKOE #website for Architect, Designer and Passionate #comingsoon


Hello! Im planning on taking architecture for college next year. I'm scared because i'm not really good at drawing but i really want to take this course. Do you think i'd survive my first year? Im so scared :( thank you from insolent-y0uth

Hi, don’t worry about it, if you really want to do the course, you should as you’ll enjoy it. You’ll get classes on how to draw plus it’s something that you’ll improve on easily! Try jut sketching everyday objects and you’ll see how quickly your drawings improve!


superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.
superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.
superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.
superarchitects:

NON_SEQUITUR: A Neighbourhood 
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.

superarchitects:

NON_SEQUITUR: A Neighbourhood

Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014

The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.

Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.