Obligatory subject: Faculty of Architecture, Regular English Program
Due to switching to distance learning the timetable changes! Please, go to the department's Moodle page.
Gábor Üveges PhD
The aims of this course are on one hand to teach students to 'observe' - to develop their senses of proportion, form and composition, and to master their manual intelligence through a series of graphical exercises. On the other hand, it provides inspiration for their spatial and formal creativity, and familiarizes students with the logic of visual thinking and the vocabulary of the visual language through its basic operation both in architectural drawing and model making. The third goal of the course is to synthesize the graphical and spatial creative exercises in an attempt to push drawing beyond the mere representation of the sight and focus on the conscious use of their visal language and the fundamental problematics of spatial creativity. A series of lectures during the semester help connecting the theory with the practical work, substatially laying the groundwork for both drawing and space and form creation, transforming the action into a reflected creative and research process. In addition, an array of digital communication exercises complement the manual works. A digital photography class is scheduled to teach students to an advanced level of imaging and tutorials in digital post processing help students with the thoughtful and adept documentation of their works.
The use of visual language in drawing and space creation, graphical analysis of architectural spaces, interpretive skeletal depiction of buildings. These drawing exercises explore the various techniques of one-two and three-vanishing point perspective systems, their characteristics and adaptability to different situations. They turn the visible boundaries of the space transparent and reveal the structure otherwise invisible to the naked eye or the camera. In orded to do this the space must first be mapped from various point of views and the findings orchestrated in one drawing. Thus, the drawing becomes the refined essence of our understanding of the building, which does not stop at the visible envelope, but reveales the concealed substance of the space as well.
space and form studies
The drawings of the semester apply various visual linguistic operations of experimental form and space conception. Through the creative graphical multiplication, elevation, shifting, rotation and mirroring of complex vertical and horizontal spatial elements, we create delicate, rhythmic architectonic structures. The model project is centered around perpendicularity and explores the potential of spatial thinking in the orthogonal system. It parallelly draws inspiration from the traditional Japanese architecture, and relevant works of architecture and fine arts of the 20th century. The interior and exterior architecture drawings examine how hidden compositional relationships, spatial connections can be revealed.
Photo archiving and digital submission of drawings and model projects. A dedicated lecture will introduce students to a higher level of thoughtful imaging, the conscious use of photography. An inspiration for developing a visual and compositional mindset, understanding pictorial rhythm and structure as well as the potentials of lighting.
semester schedule 2020 Spring
1. 13.02. Introductory presentation
2.-3. 20.02.- 27.02. Horizontal multiplication of a given spatial element
To be submitted: A/4 sketch, A/3 shaded pencil drawing
4.-5. 05.03.- 12.03. Vertical multiplication of a given spatial element
To be submitted: A/4 sketch, colored drawing - B/2 colored paper sliced in half horizontally, or 2 pc A/4 colored paper mounted along their short side
6. 19.03. Lecture - Action Model Project
To be submitted: non-cubic model (fitting inside a 15-20 cm sized cubic volume)
7. 02.04. Observational drawing of the model
To be submitted: A/4 sketch, A/3 shaded pencil drawing - worm-eye view
8. 09.04. Orthogonal drawing of the model
To be submitted: A/4 size pencil or colored drawing or collage on A/3 textured paper (e.g. Canson, Ingres)
9. 16.04. Model photography – inspirational demonstration
To be submitted: A collection of three consciously composed and illuminated high quality model photos (small size prints)
10. 23.04. Introductory presentation – BME Aula corridor – Perspective analysis
To be submitted: A total of six A/4 sketches (ink, felt marker - 2 sketches in 1-point perspective + 2 sketches in 2-point perspective + 2 sketches in 3-point perspective)
11. 30.04. BME Aula corridor – Spatial analysis
To be submitted: A/4 sketch, A/3 detailed drawing (ink, felt marker, reduced shadows)
12. 07.05. BME Library bridge – Spatial analysis
To be submitted: A/4 sketch, A/3 detailed drawing (ink, felt marker, reduced shadows)
13. 14.05. Final consultation
Proof of attendance is the teacher's signature on the final drawings.
Works will be pre-evaluated in A-B-C system after each block.
18.05. (Monday) until 12pm
29.05. (Friday) until 12pm - late submission (late fee applies)
detailed project descriptions
The graphical application of basic visual language operations of the visual language
Multiplication, elevation, shifting, rotation and mirroring of complex vertical and horizontal spatial elements (2-5. class)
The drawings of this block apply various visual linguistic operations of experimental form and space conception. Through the creative graphical multiplication, elevation, shifting, rotation and mirroring of complex vertical and horizontal spatial elements, we create delicate, rhythmic architectonic structures.
- 2-point perspective (viewfield extension) drawing of a creative interior composed via the horizontal multiplication (and/or mirroring and/or shifting) of a given spatial element.
- 2-point perspective (viewfield extension) drawing of a creative interior composed via the vertical multiplication (and/or mirroring and/or shifting) of a given spatial element.
Perpendicular connections in space
The basics of architectonic thinking (6-9. class)
Inspired by the traditional Japanese architecture, and works of architecture and fine arts of the 20th century, this model project is centered around perpendicularity and explores the potential of spatial thinking in the orthogonal system.
- Presentation – Action model
After a brief inspirational presentation, students start developing their concept in the perpendicular system. Using balsa sheets and wooden sticks, they build a form which delicately balances volumetric, planar and linear elements in an abstract yet stable rhytmical architectonic structure.
- Observational drawing of the model – Finishing, upgrading, correction of the model
Benefitting from the effects of 3-point perspective, we lower the horizon in order to achieve a dynamic powerful composition, and depict the small-scale model as large-scale architecture
HW.: draft up two linear orthogonal views before class. Based on the teacher's instruction and on the character of the model, the orthogonal view can be replaced by one non-orthogonal projection. A/4-size drawing on A/3 textured paper.
- Orthogonal drawing of the model
One of the pre-drafted drawing finished with shadows, based on compositional illumination.
- Model photography – inspirational demonstration
We are aiming at an advanced level of thoughtful imaging, and the conscious use of photography. Students can draw inspiration for developing a visual and compositional mindset, understanding pictorial rhythm and structure as well as the potentials of lighting. During the class we set up a few makeshift studios, in order to achieve complex lighting schemes with simple tools and accessories (dark or bright backdrop, direct and diffuse light, etc.). During the workshop students will learn about the most fundamental principles of quality imaging. The exercise also includes the photo documentation of works of the first and second blocks.
Depiction of large-scale interios and exteriors
Perspective and spatial analysis (10-13. class)
Analytical skeleton drawings of historic interiors (the central aula with its various levels) and exteriors of the university. These drawings explore the various techniques of one-two and three-vanishing point perspective systems, their characteristics and adaptability to different situations. Students in their mind turn the visible boundaries of the space transparent and reveal the structure otherwise invisible to the naked eye or the camera. They first study the space from various point of views and synthesize their findings in one drawing. The drawing shall represent the refined essence of their understanding of the building, which does not idle at the details of the visible envelope, instead - capturing the different levels of the building at the same time - reveales the concealed substance of the entire space.
- Introductory presentation – BME Aula corridor – Perspective analysis
Analytical skeleton drawings of historic interior - the central Aula with its various levels - of BME. During the drawing exercises make students aware of characteristics and adaptability of the various perspective systems. The first of these classes is dedicated to the survey and mapping of the space through a series of sketches, which will then be summerized in one detailed drawing the following class.
- BME Aula corridor – Spatial analysis
Spatial relationship of the Aula and the surrounding corridors depicted with a focus on the spatial connections rather than the ornammental details, exposing all three levels on a skeleton drawing. The interconnection of columns, beams and slabs interpret the structural essence of the building.
- BME Library bridge – Spatial analysis
Plain air drawing of the exterior of BME, following the same principles introduced in the previous exercises, capturing primarily the fundamental spatial and volumetric relations .
Class attendance is compulsory, in complience with the provisions of the Code of Studies and Exams (Article 14. Section 3.). Attendance is registered. Students unable to participate in a minimum of 70% of the classes cannot obtain credits for the course. Each projects of the semester will be evaluated after the mid-term submissions, with the possibility to correct or further develop them until the final submission. Final grading is conducted by the board of lecturers of the course and on the basis of the quality of the submitted works. Missed classes can be made up on the Monday (Hungarian) sessions.
Dobó, Molnár, Peity, Répás: Reality - Concept - Drawing / Architectural drawing