IllustrationExhibition Text:
"Descent" investigates the contrast of the Modernist and Brutalist architectural movements and ideologies based on the audience's first impressions of form. This piece was created by the combination of acrylic paint and watercolor pencils on a canvas, with inspiration coming from Juan Bosco's architecture illustrations layout, Andre Derain's pointlist brushstroke technique, Dirk Lohan's modernist forms, and Fernado Diaz with Antonio Valverde's brutalist forms. Text: "Descent"
Size: 25.40 x 20.32 cm Medium: Acrylic and Watercolor Pencil Completion: February 2023 (Revisions - April 2023) |
Inspiration
Villa Savoye Le Corbusier by Juan Bosco
At first when looking through the possible mediums I could explore with this illustration, what first came to mind was using watercolors. Since watercolors are a new medium to me, I thought that it would be valuable to look into artists that was well-known for their use of watercolors pencils specifically, this lead to me discovering Juan Bosco, who studied Architecture at Barcelona University UPC. My first reaction for this artwork was noticing that this illustration is a real life modernist building that highlights some of the characteristics of that architectural movement, such as counterbalancing the footprint of the building by lifting the landscape upwards. I also noticed the faint lines on the bottom of the building to suggest vanishing points for two point perspective. I thought that this illustration highlighted a great techniques for recreating buildings on a canvas with accuracy, even more with the geometric style.
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The Big Ben by Andre Derain
After I did a bit more research and experimentation with the watercolors pencils, I found that I could incorporate it with acrylic paint. This brought me to one of the Fauvism paintings I had experience understanding how to recreate from last year, The Big Ben. Showcasing aspects of Pointillism with small, varied brushstrokes that allow the viewer to "blend" the colors together when viewed at a distance, I thought it would create a great contrast against the watercolors. More specifically, using the acrylic to develop the background, and using the watercolor to add subtle coloring to the subjects/building. The prime reason I want to incorporate the technique used in "The Big Ben" artwork is to make more clear distinction between a modernist building, and it's environment.
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Planning
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The two key components that I needed to plan out for the two illustrations I would contrast against one another are "What architectural movements would be most applicable with the theme of contrast?" and "What building would best showcase these characteristics?". This Planning section will go through the form/existing buildings that will be used as a base to show the audience the particular architectural movement, but the inspirations stated before will provided the artistic elements and medium in the Process section. That being said, the two architectural movements that immediately came to mind are Modernist and Brutalist, with Modernism being associated with structural innovation in the 20th century, Brutalism with monolithic appearances in the 60's, and both movements being recognizable by their geometric styles and strict use of material (Modernist using primary steel and glass, and Brutalist main material being concrete).
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Two buildings that make these characteristics evident are "Falling Water" and "Trelick Tower", which both embody their respective movements ideals. Brutalist architecture and their concrete buildings showed the idea of a future where power was endless, and once soulless Trelick Tower was turned from possible demolition like many other brutalist structures into a landmark. It's important to keep in mind that when concrete was seen as a boundless material, and after the world war was the best option for government programs to make mass housing readily available. Modernist departed away from decorative features to well-designed structed for how domestic design would lead towards,. Frank Lloyd Wright, a prominent modernist architect during the architectural movement that had the overall approach of "Form and Function as one", which can be showing in Falling Water as environment was a core aspect of this said mindset.
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MODERNIST: The McCraith "Butterfly" House by David Chancellor and William Patrick
Exploring the Modernist movement further, The McCraith "Butterfly" House was developed for artist and jeweler Bin Dixon, who's work is inspired by the geometric home he occupies is elevated by simplest shapes and top-heavy design. For the creation of my artwork, especially with a architectural illustration, I would need to break down my buildings into basic shapes and understand how to make the connection with the particular movement's material.
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BRUTALIST: Nakagin Capsule Tower by Kisho Kurokawa
Continuing this discussion for the Brutalist movement, The Nakagin Capsule Tower was a idea for taking recyclability to the next level, as each capsule could be exchanged and reinstalled when needed, as a concrete core allows it to do so. Part of this concept came to be by trans-cultural aspects being integrated on the unique take to high-rise apartments in Tokyo. I wanted to take this brutalist structure and attempt to draw out possible ways of incorporating pointillist acrylic and watercolors into, which is shown on the left. As I looked through examples of each architectural movement, I saw similarities with the coloring of buildings that utilized different materials and foresaw that I would need to use each medium in different ways for the illustrations to make more of a distinction.
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MODERNIST: Devon House by Dirk Lohan
With these ideas and the process of elimination, I believed that I had narrowed by options for each illustration. The Devon House displays structural elements and each of the previous characteristics mentioned about Modernist Architecture, as Dirk Lohan is the grandson of Frank Lloyd Wright. I went through different angles of the building and attempted to break down the structure to it's simplified components.
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BRUTALIST: Edificio Princesa by Fernado Diaz and Antonio Valverde
I choose the Edificio Princesa as the contrast to the modernist building based on an idea I discovered as I was working on how to lay out my vanishing points, where I wanted the building to appear endless to connection to Brutalist buildings being developed in mass quantities. With these concepts on form in mind, and the application of art qualities ready, I began transitioning into the process of the actual illustration.
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Process
One of the first implications of my inspiration that I incorporated in my artwork was when it came to dividing my canvas, as I was putting both illustrations of the same board, and I couldn't cut the board evenly with precision. In "Villa Savoye Le Corbusier", Bosco outlines an inner rectangle on his board where the majority of the artwork is contained. However, portions of the environment that are in the foreground and aren't the point of emphasis tend to overlap these outlines. I thought that this outlining would provide a great opportunity to allow the environment of each illustration to reach out the confines of their sections and potentially overlap each other in the future, which is shown on the right.
With these outlines constructed, I was able to add vanishing points onto my board that would allow a more precise geometric structure and conceivable depth by using two point. For the Modernist building, which will be drawn on the bottom, it will have it's vanishing points on the side, while the Brutalist building taking place on top will incorporate it's vanishing point on top and bottom. While I was drawing out my modernist building however, I began rethinking the position, as I recalled how Brutalist buildings after being mass produced to help deal with housing now were often overviewed and the public generally preferred the concrete sculptures to be demolished in favor of architecture more aligned with the times.
This change of positioning leaned me to wanting to incoporate darker values into my brutalist structure to display aging, while the modernist structure having lighter values to display it being current. I began using my watercolors on the background in a similar pointillist technique, where I made marks with different coloring throughout the area I wanted to cover, and made adjustments based on the end result I wanted shown on the top and bottom of the brutalist illustration. I then incorporated the same pointlist technique with the acrylic onto the building, using mainly dark grey with slight alterations. I decided to add a worn out yellow to highlight how brutalist architects during the time believed energy would be limitless.
Once I concluded with the brutalist illustration, I began work on the modernist one, where the structure would focus more on watercolors rather than acrylic. I took elements of the watercolors and acrylic used before and applied them on top, as seen on the left. At this point I realized that I wanted to start including much more vibrant colors in this upcoming section
Starting in the pointlist technique, I began making small brushstrokes onto the canvas, switching into slight alterations of similar colors around every 5 times I applied paint. This was a very time-consuming process, but with partial blending occurring, it made the previous brushstrokes from the image on the left to right less distinct. One I had finished using up the acrylic paint, all I had to do was add slight water coloring to the windows by adding blue to the edges and using a wet brush to spread it across the surface, and with that I ended up with both illustrations completed.
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Experimentation
As mentioned previously, I wanted to incorporate watercolors as a new medium to me in this illustration in some form. More specifically I was using watercolor pencils, and you can spot a quick demo of me trying out different techniques on the left. The main objective of this discovery was understanding how I could incorporate watercolors as a contrast to acrylic, so I explored having the watercolors act as the terrain and backdrop to the buildings I would design.
One aspect that I immediately noticed when it came to using both mediums was value, where watercolors would case the subject to appear further away, while acrylic would have the opposite effect of making the subject appear closer. With this in mind, I experimented exchanging each medium to find what my preference would be for the foreground and background, which later involve into each illustration using the mediums in different perspectives. Practicing the pointillist technique with different hues can also be seen on the right, and I found blue to be the most effective in showcasing slight alterations of coloring.
Lastly I attempted to expand on the pointillist techniques with watercolors layering on top, which lead to the obscure background seen on the right that with a wet brush could be extended downwards.
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Critique
Similarities
- Two-point Perspective (Top-Right): Using the same method as Juan Bosco in his architecture illustration to visualize depth, I incorporated the same techniques of applying vanishing points that works great when it comes to drawing out geometric shapes.
- Pointillist Techniques (Top-Left): Andre Derain applied small brushstrokes that allowed the viewer to "blend" the colors together when viewed at a distance, which I utilized when it came to constating watercolor elements in each respective illustration.
- Architectural Movements setting Form (Bottom): Drawing out of the characteristics of both the Modernist and Brutalist architectural movements were key in finding a foundation of form that is shown in both inspirations and my artwork.
Differences
- Combination of Mediums (Top): In order to develop the contrast between buildings and environment for each illustration, I had taken not only the techniques from Bosco and Derain, but the mediums they used in their artworks as well into my own.
- Obscure Brushstrokes (Top): To showcase aging on most evident the Brutalist illustration, the pointillist technique seen in both the watercolor pencils and acrylic use a bit of blending and darker hues for a more obscure surface.
- Collaborating Architecture (Bottom): "Descent" incorporates Modernist and Brutalist architecture in each panel to collaborate with one another on a shared canvas to highlight the contrast present between them.
- Two-point Perspective (Top-Right): Using the same method as Juan Bosco in his architecture illustration to visualize depth, I incorporated the same techniques of applying vanishing points that works great when it comes to drawing out geometric shapes.
- Pointillist Techniques (Top-Left): Andre Derain applied small brushstrokes that allowed the viewer to "blend" the colors together when viewed at a distance, which I utilized when it came to constating watercolor elements in each respective illustration.
- Architectural Movements setting Form (Bottom): Drawing out of the characteristics of both the Modernist and Brutalist architectural movements were key in finding a foundation of form that is shown in both inspirations and my artwork.
Differences
- Combination of Mediums (Top): In order to develop the contrast between buildings and environment for each illustration, I had taken not only the techniques from Bosco and Derain, but the mediums they used in their artworks as well into my own.
- Obscure Brushstrokes (Top): To showcase aging on most evident the Brutalist illustration, the pointillist technique seen in both the watercolor pencils and acrylic use a bit of blending and darker hues for a more obscure surface.
- Collaborating Architecture (Bottom): "Descent" incorporates Modernist and Brutalist architecture in each panel to collaborate with one another on a shared canvas to highlight the contrast present between them.
Reflection
For this project specifically, there was a lot of research and process going behind it, with mainly background I had through a architecture course I experience to gear me towards the right direction. Not only with the form present on Modernist and Brutalist buildings that I narrowed down important aspects of each, but the techniques present in Andre Dorain's pointillist brushstrokes and Juan Bosco's subtle use of watercolor pencils. I really do value taking time to have a grasp of what I wanted to incorporate in this illustration, as I tend to be fascinated with the mindset architects take when designing buildings. With that in mind, going through articles and podcasts that highlighted these distinct mindsets was by far one of my favorite components, as I was to get a refresher on the concepts I had learned and studied previously. The downside and my least favorite part was having to narrow down the building and perspective that I want to go with on my final artwork.
The biggest challenge became having to incorporate all the aspects of each architectural movement into the illustration, but I believe I did well for finding a good middle ground for what I wanted to express. I hope others are able to view these aspects of each respective architectural movement in my illustrations.
The biggest challenge became having to incorporate all the aspects of each architectural movement into the illustration, but I believe I did well for finding a good middle ground for what I wanted to express. I hope others are able to view these aspects of each respective architectural movement in my illustrations.
Connecting to ACT
Clearly explain how you are able to identify the cause effect relationship between your inspiration and its effect on your artwork?
One of the fundamental parts of choosing my inspiration through the process of researching and elimination was to find a base that best showcased the contrasting characteristics of Brutalist and Modernist architecture. Having Juan Bosco who studied architecture to learn the techniques of properly illustrating buildings, and the pointillist skills from Andre Derain allowed a not only a accurate artwork to be develop, but differentiation from the buildings and environment.
What is the overall approach the author has regarding the topic of your inspiration?
Dirk Lohan is the grandson of Frank Lloyd Wright, a prominent modernist architect during the architectural movement that had the overall approach of "Form and Function as one", such as incorporating nature into the building that his grandson no doubt illustrated as well. For Fernando Diaz and Antonio Valverde, they began to bring attention towards Brutalist architecture by steering away from it's plain and displeasing connotations and sharing qualities of post-modernism.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
In the process of researching my inspiration, there are generalizations from everyday pedestrians when it comes to specific architectural movements, such as Brutalist where the majority tend to view it as displeasing from first impressions, but there have been ideas and mediums, such as Photography, that have brought these underestimated buildings to light.
What is the central idea or theme around your inspirational research?
The central theme around my inspirational research was focused on the similarities and differences present in the Modernist and Brutalist architectural movements, and what existing structures and form characteristics could best visual these aspects to a audience.
What kind of inferences did you make while reading your research?
The characteristics that are presented with form on each architectural movements tend to influence each other on their ideologies, and once those perspectives changed, it can have effects on how the public views structures from the past.
One of the fundamental parts of choosing my inspiration through the process of researching and elimination was to find a base that best showcased the contrasting characteristics of Brutalist and Modernist architecture. Having Juan Bosco who studied architecture to learn the techniques of properly illustrating buildings, and the pointillist skills from Andre Derain allowed a not only a accurate artwork to be develop, but differentiation from the buildings and environment.
What is the overall approach the author has regarding the topic of your inspiration?
Dirk Lohan is the grandson of Frank Lloyd Wright, a prominent modernist architect during the architectural movement that had the overall approach of "Form and Function as one", such as incorporating nature into the building that his grandson no doubt illustrated as well. For Fernando Diaz and Antonio Valverde, they began to bring attention towards Brutalist architecture by steering away from it's plain and displeasing connotations and sharing qualities of post-modernism.
What kind of generalizations and conclusions have you discovered about people, ideas, culture, etc. while you researched your inspiration?
In the process of researching my inspiration, there are generalizations from everyday pedestrians when it comes to specific architectural movements, such as Brutalist where the majority tend to view it as displeasing from first impressions, but there have been ideas and mediums, such as Photography, that have brought these underestimated buildings to light.
What is the central idea or theme around your inspirational research?
The central theme around my inspirational research was focused on the similarities and differences present in the Modernist and Brutalist architectural movements, and what existing structures and form characteristics could best visual these aspects to a audience.
What kind of inferences did you make while reading your research?
The characteristics that are presented with form on each architectural movements tend to influence each other on their ideologies, and once those perspectives changed, it can have effects on how the public views structures from the past.
Citations
Bosco, Juan. “J U A N B O S C O.” Juan-Bosco, 2023. https://juan-bosco.com/.
Kohlstedt, Kurt. “Machines for Living in: Le Corbusier's Pivotal ‘Five Points of Architecture.’” 99% Invisible, February 19, 2018. https://99percentinvisible.org/article/machines-living-le-cobusiers-pivotal-five-points-architecture/.
Feagins, Lucy. “The McGrath 'Butterfly' House - The Design Files: Australia's Most Popular Design Blog.” The Design Files | Australia's most popular design blog., July 12, 2017. https://thedesignfiles.net/2017/06/the-mccraith-butterfly-house/.
Maganga, Matthew. “Uncovering the Hidden Gems of Brutalism in Madrid.” ArchDaily. ArchDaily, March 20, 2021. https://www.archdaily.com/958637/uncovering-the-hidden-gems-of-brutalism-in-madrid.
Sveiven, Megan. “Ad Classics: Nakagin Capsule Tower / Kisho Kurokawa.” ArchDaily. ArchDaily, February 9, 2011. https://www.archdaily.com/110745/ad-classics-nakagin-capsule-tower-kisho-kurokawa.
Trufelman, Avery. “Hard to Love a Brute.” 99% Invisible, August 11, 2015. https://99percentinvisible.org/episode/hard-to-love-a-brute/.
Kohlstedt, Kurt. “Machines for Living in: Le Corbusier's Pivotal ‘Five Points of Architecture.’” 99% Invisible, February 19, 2018. https://99percentinvisible.org/article/machines-living-le-cobusiers-pivotal-five-points-architecture/.
Feagins, Lucy. “The McGrath 'Butterfly' House - The Design Files: Australia's Most Popular Design Blog.” The Design Files | Australia's most popular design blog., July 12, 2017. https://thedesignfiles.net/2017/06/the-mccraith-butterfly-house/.
Maganga, Matthew. “Uncovering the Hidden Gems of Brutalism in Madrid.” ArchDaily. ArchDaily, March 20, 2021. https://www.archdaily.com/958637/uncovering-the-hidden-gems-of-brutalism-in-madrid.
Sveiven, Megan. “Ad Classics: Nakagin Capsule Tower / Kisho Kurokawa.” ArchDaily. ArchDaily, February 9, 2011. https://www.archdaily.com/110745/ad-classics-nakagin-capsule-tower-kisho-kurokawa.
Trufelman, Avery. “Hard to Love a Brute.” 99% Invisible, August 11, 2015. https://99percentinvisible.org/episode/hard-to-love-a-brute/.