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Cul/Box11/109

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anatomy of st pauls

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cull/box11/85

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cull/box11/62

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Group B - The Art of sketching landscape

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Group B - The Art of sketching landscape

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CUL/BOX11/76

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2. Contact Sheets (Photos) US Cities 1960

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2. Contact Sheets (Photos) US Cities 1960

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1. Photos of 5 major US industrial east coast cities: New York, Chicago, Pittsburgh, Boston and Philadelphia.
2. Strong focus on ground context and human scale in the city.
3. Paired with a focus on light and shadow in the architecture. High contrast photos of the journey around the city.

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CUL/BOX8/6 - Focuses on landscape , shows integration with architecture and landscape- like a serial vision from townscape.

CUL/BOX8/49 - Focuses on building, isolated, feels like an advert , house plants and people used to give human scale and familiarity

CUL/BOX8/3 - Framing view of the square, captures a life to the square, feels very real , trees help to make it convincing.

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Task 2
Colour used to vitalise perspective, visual queues to here and there

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1. City planning according to artistic practice
- understanding of the past of cities, what is already there, and working with it (colours, irregularity)

2. People as key to the urban landscape
- the town plan affects people's daily lives and habits, their feeling

3. the social and economic effects of artistic planning produce "civic sentiment, local and, more, tourism"

2. DOCUMENTS

Report about St. Pauls related to the Architects Journal, drawing 1954, two texts 1988. A number of perspectives of St. Pauls are included.

St. Pauls is characterised as a person, it is titled 'the anatomy of St. Pauls', the forecourt is called the formal display and to the rear is a more sublime environment. The dome is seen like a crown of regional dominance. Geometric contrast between front and back.

Cullen is using the artistic practice principles. He understands the experience of St. Pauls and its context on the ground. He says his plan can be regarded as "street architecture". He is working with existing fabric, analysis of St. Paul.

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1. Possibly Regarded as the first 'Modern Landscape' not just because of contemporary buildings + Furnishings but new 'principles of town planning as a visual art'
2. Illustrations reinforce the text. Specifically with sketches
3. The devices exercised in the exhibition are paralleled in eighteenth century landscape practice resulting in the application of the principles of the picturesque layout.
4. Observations maybe too visual, from an 'architect's' point of view rather than the average spectator.
5. The Art lies in concealing conscious intention-in contriving the happy accident

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1. Trees can humanize cold modern architecture. Modern architecture has become impersonal because of advancements in technology, not necessarily a bad thing but we must remember architecture is for people and so must be sympathetic and familiar.
2. "Calligraphy"- trees casting silhouette against walls - like wallpaper , movement will bring life and variety to lifeless surface. Trees as a architectural motif.
3. Important to recognise different species of vegetation can have a massive effect on the appearance/ feeling of the architecture.
4. Old approach to landscaping used trees to frame the architecture as a picture , the new approach uses trees to create the picture (landscape as part of the architecture)

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Group C Townscape and Photography, Elwall 2012

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Group C Townscape and Photography, Elwall 2012

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1 - Robert Elwall argues that photography advanced the ideals of Townscape and helped present the concepts to the public, increasing its popularity.
2 - The advancements in photography of the lightwell allowed for high contrast photos that emphasised light and shadows in the environment and placed the architecture in context.
3 - Photographing industrial and non ornimental buildings in the English landscape, such as local pubs, to promote modernist ideals and using photographed views to sell more unconventional plans to the public rather than drawings.
4 - Accumulating in the 'Manplan' representing the ultimate aliance between townscape and photography.
5 - Highlights the group involvement in Townscape, focusing on the work of Nairn, Hastings and de Mare.

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1 - Highlighted the importance of existing use of space
2 - Architects use of models and plans seemed to be inefficient in describing space to Nairn. Maybe Cullen's style was more relatable to the human scale. Perhaps an inaccuracy in architectural representation, making images better than the architecture.
3 - Barnsley's vibrant vitality in daily life was not reflected in the vitality of the buildings. Nairn seemed to be crying out for the people of Barnsley to wake up and change their urban landscape.

Group D - Archival Documents

CUL/BOX 8/7  BOX 8/51 BOX 8/59 BOX 8/36
- Cullen drawing appears to be in a similar position to that of the Barnsley Video, on the ground (pedestrian eye level).
- Still Frame images instead of axonometrics
- Layering of materials gives complexity to the setting and describes and hints the different layers of historical and architectural layering.

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Group B - The Art of Sketching Landscape

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Group B - The Art of Sketching Landscape

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1. William Gilpin’s essay on ‘The Art of Sketching Landscape’ presents a guide to sketching. He states that ‘sketches are either taken from the imagination, or from nature’. Sketches taken from nature can be an ‘original sketch’ or an ‘adorned sketch’. The ‘adorned sketch’ has a greater degree of correctness in order to convey its ideas to others.

2. Composition – ‘The foundation of all picturesque beauty’ .The details of a sketch convey the intention behind the drawing itself, degree of detailing of the intended landscape leads to one understanding sketch from a memory. The essay gives us an insight into the composition of landscape with relation to confounding distances i.e. multiple distances in the same frame of landscape.

3.  Stain – using reddish and brownish hue stains can create harmony within a sketch. The text gives a guide to different colours and layers which can be used. He often refers to the sketch in musical terms creating harmony and different tones in the sketch.

TASK 2
CUL/BOX 11/76
The first sketch seems to be from a memory or an imagination, he has used dark ink to mark out the composition. The uses of vivid shades of blueish green along with water colours gives the sketch a rough imaginary look to it. The fence in the background add structure to the sketch compared to the trees or the animals in the foreground.

CUL/BOX11/62

The second sketch that depicts a countryside landscape is well framed with definitive foreground and background and seems like sketched on site. The sketch looks like it has been marked our before with a pencil and Cullen made sure he structured and composed the landscape well to fit his idea of a frame. The colours used in the sketch contradict the essay with regards to using warm reddish hue in terms of depicting the landscape. The use of blue ink pen over the sketch adds more definition and structure.

CUL/BOX11/85

The sketch that shows the Drunray Reactor focuses on the reactor as a whole present in the mid ground of the sketch. The reactor is detailed compared to the fore ground of the view yet the hills in the background add to the composition and detail of the reactor. Cullen’s selective way of detailing the chosen subject and lack of focus on the rest of the landscape in the view cements the focus of the speech.

CUL/BOX11/109

The last pencil sketch talks about the last part of the essay where Wiliam Gilpin talks about Perspective and sketching with regards to the eye sight level. The sketch has a clear vanishing point with all the lines leading to the ‘points of light’.