![]() ![]() The works by the living include a “fictional skyline of Tokyo” by Veronika Ikonnikova, where traditional wooden houses have been transposed to the tops of skyscrapers, and a digital collage by Zain Al-Sharaf that records the erasures of the family’s Palestinian neighbourhood under Israeli rule. Lent by Drawing Matter, a private collection of 35,000 architectural drawings and models housed in Somerset, these exhibits will include a rough crayon sketch by Le Corbusier for an unbuilt Olympic stadium in Baghdad the Post-it notes on which Zaha Hadid delivered her ideas to her staff and a 1798 drawing of a Roman basilica by the French neoclassicist Charles Percier. This combines contemporary drawings with those of great architects in the past. ![]() There is also an exhibition, Vanishing Points, opening this week at the Roca London Gallery. It remains to be seen what happens when these visions encounter the demands of plumbing and fire codes ![]() Prompted by endless questions from students as to how particular drawings were made, it is a guide to “drawing attention” to ideas “that may be revolutionary”. From this ferment has come a book, Drawing Attention: Architecture in the Age of Social Media, to be published by RIBA Publishing. “We were just sat there at our desks in this digital storm,” he says, “wanting to connect more.” So they did. Shaikh has built up what he calls “worldwide collectives” of like-minded people, a process accelerated during lockdown. Alongside fantastical compositions by himself or his peers, he makes forays into history: the intricate tiles and brickwork in the Mughal mosque of his ancestral village in Pakistan the timber-lined nest of knowledge that is the Library of Trinity College Dublin a consummate pen-and-wash cross-section through an 18th-century Parisian theatre. Shaikh, 27, is following the trajectory of many young architects: after the completion of his training he is working in the London office of the multinational practice Gensler – except that he is also an Instagram influencer, attracting nearly 30,000 followers to his posts of architectural drawings and photographs of buildings. They don’t all use the most advanced techniques all the time – some work by hand, some (Shaikh included) with hybrids of manual and digital – but all use the internet to spread their work and exchange ideas. They do this not by realising completed buildings, but through compelling images of imaginary architecture. If, in the past, aspiring architects had to claw their way up a profession that favoured those with connections and money, now anyone from anywhere can make a name for themselves, if they have the talent, determination and access to technology. There is also, as Shaikh justifiably claims, a social transformation. And indeed, if it is not yet clear how blocks of flats or schools or shopping centres near you might be changed by this revolution, the energy and invention behind it are undeniable. “Architecture is entering a new age.” The ways in which buildings are imagined and communicated are, he argues, being transformed by a combination of social media and the ever-evolving techniques of digital drawing, to which artificial intelligence is adding new capabilities. Here we introduce 12 architecture offices that describe atmospheres by using complex collage compositions to express social, cultural and political environments for their designs.“Something big is happening,” says Hamza Shaikh. The symbolic and tactical associations between fragments of images provide a way to understand all the stories behind a space, transgressing the limits of perception to reach an intuitive process that exhibits the atmosphere of a project. In this path, collage has become an active tool to facilitate the reproduction of multi-layered atmospheres made by the curated assemblage of different forms to create a complex stage for an architectural idea.Ī collage engages all senses to define the experience of a space. Representation becomes a project itself it is a graphic manifesto of what the author wants to deliver, a critical vision of a design intervention in a particular context. Every image embodies a way of seeing.” - John Berger / 1972 / Ways of seeingĭigital tools have given architecture the ability to manipulate information, allowing architects to interact with existing information and reshape it in a different way according to the author’s ideals or thoughts about architecture. ![]() It is an appearance, or a set of appearances, which has been detached from the place and time in which it first made its appearance and preserved – for a few moments or a few centuries. “An image is a sight which has been recreated or reproduced. ![]()
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1/3/2024 12:05:33 am
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