A BUILDING, BY REQUEST

Why am I not drawing more buildings, like I used to do?  Two readers recently asked this question.  The drawing below is an attempt to get back to buildings.  It is of Hagia Sophia, and done in charcoal stick applied to wet paper. 

And they are right, I have gotten off on a trajectory of holistic form generation.  As I hope is apparent, I have been having great fun incorporating new media, such as bum wad, gold metallic spray paint, saran wrap (still to come), etc.

I have come to the realization that all forms are equal.  That is to say, a building form is not more interesting to me than is a clothing form.  A form in nature is just as interesting as the form of a chair.  All holistic forms are fascinating.  

In addition, I also now realize that Form Analysis and Form Generation are also of equal fascination.  As long as we are drawing and resolving form, then we are in the correct mindset.  While it might be natural to think that Form Generation is way more fun than Analysis, (Form Analysis might sound like homework), the holistic act of form resolution is inherent in both.  

You would not think that charcoal is a transparent medium.  But as the drawing demonstrates, it can be when each of the marks that you apply maintain their individuality.  Also, applying the charcoal marks in the wet helps to lift it off of previous marks as you move around the form.

The last Hagia Sophia drawing in these pages was done years ago.  It remains a favorite of readers, and for me:  it is included in the book.  Hagia Sophia, as well as Villa Savoye, have gotten multiple exposures in these pages.  (See Mathematical Villa Savoyes as one compendium.)  Their forms are equal.  And these buildings are equal to any other holistic form that is either analyzed or generated.  

So it is great for me, an architect, to get beyond buildings.  And with the tools of Transparent Drawing, I am given a framework with which to do so.  The experience is very liberating.