On the use of orthographic drawings by Morphosis: the case of the self-built 2-4-6-8 House by Morphosis, complete with assembly instructions.
Axonometrics are used to describe the construction method, as they are is deemed easier to understand. Here they show how the different parts are assembled.
The project also combines plan, reflected ceiling plan, unfolded elevations, axonometric and the additional perspective on a single drawing (first drawing below), thus using the quasi-full palette of traditional conventional architectural drawings on the same page, whilst, surprisingly perhaps, avoiding the cross section (though the plan of course is a section).

The house is one of Morphosis early projects (1978) and can be found, alongside many others, on their research/archive website: morphopedia

01-246-Drawing-A01-512 05-2468-Isometric-Drawing-_-512 2468axo_FINAL-512 03-2468-See-Word-Doc-_assem-512description of the project from morphopedia:

“Venice Beach, the context for much of our early work, is one of the few places in Los Angeles with a thriving and eclectic street life. The 2-4-6-8 House gave voice to this happenstantial quality, inflected by the serendipity and combustibility of Venice street life. A sense of play animates the 2-4-6-8 House. Variations on window sizes form the conceptual genesis for the project. A simple cube with a pyramidal roof, the exterior is clad in gray asphalt shingles, while the windows’ yellow cross, blue lintel, and red scupper inject a joyous note of color. The project was schematized in a Revell-model-like that detailed each aspect of its construction in a form any layperson could comprehend. To enhance this playful, do-it-yourself quality, the client was given pocket-sized working drawings. Within the finished space, ventilation and heating are manually operated through gadgets that beckon to be fiddled with.”

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Ennio Brion recounts that Scarpa claimed to be designing the Brion project even in his sleep, fulfilling Gio Ponti’s aphorism that gardens should be based not on designs but on dreams. The Brion sanctuary demonstrates that it may be possible and even desirable to dissolve the distinction between the world we dream and the one in which we dwell or, in the case of Scarpa and the Brion sanctuary, between desiring landscapes and landscapes of desire.”

Dodds, G. (2002) Desiring Landscapes / Landscapes of Desire, in Body and Buildings: Essays on the changing relation of body and architecture, Dodds, G. and Tavernor, R. Eds, MIT Press

Last few days to see at the Serpentine Gallery:  Wael Shawky: “Myths and Legends” and Jake and Dinos Chapman : “Come and See” , until the 9th of February, entrance free

See reviews of the exhibitions by Simon Withers on the Unitfifteen blog, and a recommendation to start the show with Wael Shawky ! … before you move onto the provocative and gut churning Chapman brothers, not for the faint hearted. Simon describes it as ‘Lurid, morbid, fearful, ghastly. And wonderful.’

http://unitfifteen.blogspot.co.uk/2014/01/al-araba-al-madfuna-ii-2013.html
http://unitfifteen.blogspot.co.uk/2014/01/the-sum-of-all-evil.html

Edit of the 8th Feb. the Chapman Brothers show is indeed a lot to take on, and somehow testing the limits of what you may deem acceptable. I turned around before long. The Wael Shawky show on the other hand, and especially the “al araba al madfuna II” film, was intriguiging, not the least for its amazing setting, the ruins of what looks like a huge compendium for birds. The shots of this abandoned building are astounding.

al araba al madfuna II

Serpentine Gallery website
http://www.serpentinegalleries.org/exhibitions-events/jake-and-dinos-chapman-come-and-see
http://www.serpentinegalleries.org/exhibitions-events/wael-shawky

interview with the artists
http://universes-in-universe.org/eng/nafas/articles/2012/wael_shawky

Shin Takamatsu’s monumental architecture.

“Speaking in short Japanese sentences, he told of his father, a fisherman, who distrusted people who talked too much, for they scared the fish away. Or as Shin added: ‘Architecture says more than words. I think I should vanish from the site now…’ A very humble attitude for a man who usually makes large, monumental architecture.”

Extract from this site: http://www.classic.archined.nl/news/0202/shin_eng.html

and here for an 80’s video of one of his lectures at Sci-Arc (clearly not a digital recording but you still get to see some of the work)
http://sma.sciarc.edu/video/shin-takamatsu/

and a review of Takamtsu’s exhibition and thoughts about technology
http://laforum.org/content/articles/nostalgia-and-technology-by-rachel-allen-august-1993

1990_Takamatsu-Shin-001 takamatsu temple takamatsu imanishi building

Extract from Peter Cook’s essay ‘Looking and Drawing’.
see  ‘Drawing Architecture’, AD no.225, pp 80-87, edited by Neil Spiller, Wiley, (2013) for the full essay:

“How can people draw in the abstract? Even plotting a line on a scrap bit of paper
– ‘here’s the nearest place to buy potatoes’ – followed by a scribbled arrow,
a wobbly line to the supermarket door, is the product of memory and episode.
In the invention business, this involves a considerable scrambling of all sorts of memories and episodes allied to many, many, wish-dreams.
[…]
I knew how to keep going: attacking the awkward parts of a drawing in the morning and coasting along with the easy, repetitive parts in the evening.
Yes, the business of drawing became not only a case of interpreting one’s dreams, but of assembling the likely episodes in some king of predicable echelon. For me, the best drawings have always been those in which more than 60 per cent was, on the outset, merely a ‘sniff’ of what was to come. To have the whole thing plotted out beforehand and entirely predictable and therefore just a graphic exercise – this is infinitely boring. A drawing should be an investigative device, a voyage of discovery, a series of glances into the future. ‘Oh my God, was that what it was about?’ seems to be a reasonable conclusion.”