Material Information

Reflections drawing for the body
Rodriguez, Laura M. ( author )
Publication Date:
Physical Description:
1 online resource (61 pages) : illustrations ;


Subjects / Keywords:
Architecture master's research project, M. Arch


Drawing in its most simplistic definition is the action of tracing or producing a line or mark on a surface. For architecture, drawing is a provisional method and process of designing. It is an exploration of palimpsest, disappearance, and reflection through the process of trace and method of marking in drawing. With this is in mind, the process of the project focused on two-dimensional drawing aiming to express material qualities effectively, and exploring a variety of characteristics developed from the process of marking through a set of operations. Drawing became the process of marking from matter to marking in space, leading to the transformation of two-dimensional drawings into three-dimensions. The two-dimensional drawings done in watercolor and graphite go hand in hand with plexi-glass and wood studies to further help the understanding of marking on media as a different drawing format which evolves and unpacks new discoveries of the project. The marks and sets of operations in the media had to become intrinsic to the idea of how each drawing was produced. The three series of exercises were done with the hope of testing the same operations of mark making in three distinct mediums based on a subtractive process, each step reflecting about the previous drawing. The question of tool and materiality transcended that of surface and moved into the realm of the paper filigree. Materials slowly and fluidly transformed into the canvas, and the machine or instrument used became the pencil of the drawings. The project in its entirety focused on responding and reflecting from the different types of marks made by the instruments which limited the scale and characteristic of line. The research then looked into developing a three-dimensional drawing, drawn in wood. In this study an armature or framework system had to be present to act as the underlying paper which
received the markings. With the testing of drawing in three-dimensional space, the question of the intersection of marks in a drawing and its translation into a three-dimensional spatial intersection became primordial. Minding this, reflecting on the process of how a two-dimensional drawing is developed was necessary. The inherent restrictions of the drawing process itself needed to become apparent in all the studies but particularly the three-dimensional drawing to begin to bridge the two worlds. The two-dimensional process of marking on paper would be carried out into the three-dimensional drawing allowing for limitations to guide the experiment. The research thrives to understand the process of drawing and how architects design. It is an exploration of palimpsest, disappearance, and reflection through the process of trace and method of marking in drawing. The project informs us that in every mark on a drawing there are multiple possibilities of buildings and that drawing is a way to suggest a spatial construct. In the process of researching and reflecting the way in which we draw and mark on media, a clear understanding of how drawings transform into build objects should emerge. The goal was to project space back and forth between two-dimensions and three-dimensions.
Includes bibliographical references.
General Note:
Sustainable Development Practice (MDP) Program final field practicum report
Statement of Responsibility:
Laura M. Rodriguez.

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University of Florida
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University of Florida
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Copyright Creator. Permission granted to University of Florida to digitize and display this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.
Resource Identifier:
035652472 ( ALEPH )
LD1780.1 2017 ( lcc )

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Reflections: Drawing for the Body


Lisa Huang Bradley WaltersReflections: Drawing for the Body


Contents 10 Drawing the Process: An Introduction Methodological Resistance Marking Absence Fields of Delamination and Speculation Marking in Paper, Matter, and Free Space 14 22 50 116


A drawing for me is a model that oscillates between the idea and the physical, or built, reality of architecture. It is not a step toward this reality but an autonomous act to anticipate the concreteness of the ideal... The first markings on a white sheet of paper, the first carvings in stone, the first engravings in metallic plates represent the beginning of architecture, the primal act of construction toward the realization of an idea. To draw is to map the world through signs, locating the absence of the eye. 1-Abraham Raimund


Perry Kulper


Cedar KeyMapping place Fields of Memory


Architecture generated from the white space, not the black lines of the architectural drawing -Perry Kulper, OZ pg.83


L. Mies van der Rohe We must remember that everything depends on how we use a material, not on the material itself New materials are not necessarily superior. Each material is only what we make of it. No design is possible until the materials with which you design are completely understood. L. Mies van der Rohe


The thesis explored the effects of drawing in stratums as an effective architectural communicator through different media of materials and their phenomenology. Thus the interaction of materials in details, spatial joints, and layers was crucial and significant as these allowed an opportunity to explore design decisions that changed the character of the space. In the process of the project, two-dimensional representations aim to express material qualities effectively, and explore characteristics between opposing materials and their relationships in space. The two-dimensional drawings went hand in hand with physical material studies to further help understand the material in the drawing format. Ideas of tool, medium, and methodology came into play as the testing of materials began. As stated by Lily Chi in Translations between Design Research and Scholarship, Design must be located in the specificity of architectural work: its material and media its particular modes of deliberation, and discovery.2 With medium comes other questions of tools and delivery method. In the research the materials tested for drawing became the medium or canvas used to hold the information of the drawing. Many times in the drawing there is an inter dependency between the mark and the media, the paper and the charcoal, the plexi-glass and the lines. Strategies of drawing into other material allowed for a compilation of matrix or pallet of materials. Through the idea of making and portraying materials through and with the help of drawing, it permitted the different sets of drawings to inform the next step of the process. Each drawing was to be taken as an experiment in which different techniques of the controlling and manipulating the media would unfold. The project was process driven, through the idea of iteration, series, and letting one think lead to another, thus speculating endlessly. The study goes from testing graphite, to Plexi construction composed of six plate, to a three dimensional assembly made up of wood elements. The aim was to trace the process of development by marking through a series of operations and strategies that would be the common thread of the project and each study. To challenge and limit the work each material had to go through the same operational and formal strategies that moved from material to material. This allowed a greater understanding of the different materials and their potentials. Inherently in each material new sets of operations would emerge strictly to that material and this allowed an unfolding process that became antecedent of something I could occupy. Each step was a new moment of invention through the combination of the previous work. The ability to find relationships between the different materials was essential for the understanding of the work. Additionally, questions of relationships not only in the operations but in the different kinds of marks created and their spatial implications. As the process unfolded all the different studies influenced each other greatly, in specific moments when all operations occurred simultaneously a new strategy would reveal itself. The materials chosen allowed for a wider range of results and allowed the body to be interactive throughout the development of the project. It was crucial for each drawing to be constructed with as little computerized media, everything was to be handcrafted and manipulated to come to understanding of the tactility and characteristics of the material.


Notching Burning Folding Bent Intersecting Sanding Chiseling DrillingGraphite Excavation [Stereotomic] [Cast-like] [Fields] [Erasure] Plexi Plates [Transperency] [Additive] [Intersect] Three-Dimensional Constructed Drawing [Line Drawing] [Construction Lines] Carving Ripping Scoring Scratching*free hand Pealing Taping(additive) Rubbing Cutting/Slit


Graphite Excavation [Stereotomic] [Cast-like] [Fields] [Erasure]


Plexi-Glass [Transparencies|Opacities] [Fields] [Linear]


Three-Dimensional Constructed Drawing [Line] [Volume] [Fields] [Depth] So as Woods work... became more abstract than illustrative, it became more generically spatial. This once again suggest that there is no real gap between drawing and modelling, standing within the piece, there was no ambiguity to be felt since wherever you stood and turned, from every direction there was the experience of a drawing through the clarity and definition of the lines and then, on turning, another, related drawing. 1Peter Cook


My work is about how we construct reality. The real illusion is that we arent aware of how we give reality to things? We have awarded them concreteness or reality and we are unaware of how weve done that. James Turrel


Taking the three-dimensional constructed drawing and utilizing it to find new spatial possibilities by learning how to occupy the drawing was essential. Ideas of horizon, scale, detail, and materiality of planes were questioned as the spaces were created using remince of the previous drawing.


Carlo Scarpa Here, rather than framing the possibilities of drawing as related to problem solving, or limiting the role of the drawing to a metrical description of a project, ideas are augmented through an emerging visual field of study that is discovered in the act of constructing a drawing Peter Cook


Drawing could be a privileged medium of speculative critical thinking in design. Lily Chi


For this study, the context became the schools gallery. Uilizing all of the edges, and lines already stablished in the place was essential. Looking at the placement of the drawing was just as crucial as choosing the placement and scale of the drawing in a piece of paper. By finding already established hard edges within the gallery, the composition of the drawing was anchored, forcing certain decisions on the project and its development.


We must learn to see things for ourselves, in order to develop a language of self-expression. The capacity to see comes from persistently analyzing our reactions to what we look at, and their significance as far as we are concerned. The more one looks, the more one will come to see Louis Kahn

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