// Landscape design
The Australian Garden
Designed by Taylor Cullity Lethlean and Paul Thompson
Photography by John Gollings
J. M. W. Turner, Snow Storm: Steamboat off a Harbour’s Mouth, exhibited 1842, oil on canvas, 91.4 x 121.9 cm, Tate Collection. Source
The story goes that Turner painted this particular stormy seascape whilst physically tied to the mast of a second ship. This is pretty unlikely, not to mention ridiculous, but the fact that the artist was able to recreate a scene as dramatic and terrifying as this is still a remarkable feat, and reminds the viewer of Turner’s natural talent.
The “design development” stage of the thesis unpacks the conventions of the architectural drawing to reveal territories and motives traditionally left behind as architects work through the design process. The mixed media composite 32” x 96” ink on Mylar drawing buildings from the schematics laid out from Generative Marks. Here, drawing is used as a tool and form of launching pad which begins to push ideas from the previous phase into a more specific architectural strategy for the development of a residence for one inhabitant. It curates space in a way that is similar to making marks on a surface and investigates the capacity for drawing to exceed a static mode— to open up the translational role of discovery and disclose aspects of a design that are not immediately apparent. A plan view, for example, presents an image of a setting or building that no one ever sees once the construction is completed. It is not just because it is taken from an impossible vantage point, but because it involves a manner of visualizing that makes visible different places at once, a simultaneity or immediacy that ordinary viewing never accomplishes. A section works in a similar manner, like an x-ray implemented through vision that is not achievable by common abilities of the human eye. If architectural drawings are meant to represent space at all, they represent the elements that structure the relationship that may come into existence. The use of a large drawing surface allows these meta-ideas to rub up against one another so the architect is able to come up with design solutions in a meditative fashion.
By: Jared Lanctot