Presentation Drawings

  John DeFazio has a wonderful drawing of the Hahn Residence posted in the Drawing Room. Here are some additional details...  

the whole drawing


John writes...

A lot of the drawing's effect is just basic composition and the fact that this house really does have that dramatic site, just like the drawing depicts.

The drawing's style "imitates" my hand drawing technique, that goes back to my student days, that imitated that of two of FLLW's early delinators, Walter Burley Griffin and Marion Mahony.

They were very inspired by 18th and 19th Century Japanese prints.


Later, my drawings style became much more Venturi'ish after my tenure there.

At that time, I became interested in the turn of the century children's book illustrations of William Bradey and Blanche Fisher Wright, for their sense of space, line quality and even charm.

In the Hahn Residence drawing I took a standard elevation and added entourage from the PowerCadd libraries (RenderPAK2).

I then added many, many, new clusters of foliage, drawn right into the document.

Most are made of tiny rectangles that were then "jiggled" and then "squiggled" using Wildtools.

I would group these custers and use the StampTool, (Wildtools again), to place them through out.


I flip these clusters both vertically and horizontally so that the pattern does not become too apparent or monotonous.

Even though the drawing is not a perspective, I enlarged some these of elements ( trees, rocks, bushes) as they moved closer to the viewer, giving the drawing a sense of "flatten space", like a landscape image photographed with a portrait lens.

This is a large drawing, allowing for great amount of detail -- but the detail is very schematic.

All the lines are the same line weight, giving the drawing a linear flatten feeling; (this is a Venturi, Wright, and even Japanese prints trick).

All the lines are a dark grey rather than black, to soften and again flatten the drawing.

After all this I abuse the hell out of the drawing using Alfred's SquiggleTool.

I work with lots of layers and do this one layer at a time, making sure I don't over do it.

I keep the SuiggleTool on the gentlest settings and use it multiple times... judging just when the right level of chaos and "all-over-ness" is reached.

It is this "all-over-ness" quality that I'm going for... evoking a kind of continuity between the landscape and the architecture -- which is the true content of the drawing.

On reflection, as I write here, I realize that the breakthrough is not in the drawing itself, but the ability of this cadd program, PowerCadd/Wildtools -- to allow me to do all this without even thinking.


These are the layers John used...

Who will send in the next presentation drawing for study?