Part 1: Body Movement The goal of this body movement exercise was to track my hands movements as I drew. Through coating my hands with pastel and drawing a sphere, I discovered that my fingertips made the most amount of contact with the paper. Here, the hands became a tool in and of itself.
Part 2: Drafting Tool Through the body movement exercise, I discovered how vital my hands (and fingers in particular) were for drawing. In this exercise, the device created became an extension of the fingertips to quite literally transform the hands into a drafting tool.
Part 1: Body Movement The goal of this body movement exercise was to track my hands movements as I drew. Through coating my hands with pastel and drawing a sphere, I discovered that my fingertips made the most amount of contact with the paper. Here, the hands became a tool in and of itself.
ASAU OTTAWA
EXERCISE 8 & 7
1:1 DRAWING TEMPLATES
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TRACING ANTHROPOIETICPERFORMANCE DRAWINGS
(EX 8) Consider recording on a surface an anthropoietic performance, exploring and tracing body movements, while having the body as the primary instrument. The study that emerges will provide a demonstration of the fact that a tool only becomes an instrument in the hands of the maker, making apparent the links between the device, the body, and the world around us.
Tony Orrico’s Penwald Drawings
Frascari, Marco. “The Body and Architecture in the Drawings of Carlo Scarpa.” RES 14, Autumn 1987.
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(EX 7) As a way to become aware of the significance of chosen tools, their intentional and unintentional narrative capacity, and bearing on design, this exercise reconnects us—one by one—and 1 : 1 with the drawing’s ability to generate drawing-thinking and not mere illustrations of architecture. It is possible to define a unique point of entry into architectural design through the design of a tool, which in turn can aid in the design of details such as walls, apertures, ceiling elements, door and windows, stairs, and other details. Designing drafting tools may be understood as an extension of the thinking that comes to define thinking-through-making as an act of resistance to the passive acceptance of ‘pre-packaged’ tools.
Piedmont-Palladino, Susan, ed. Tools of the Imagination. Princeton Architectural Press, 2007.