HONOR AWARD DRAWING FOR AIP 38

I was delighted to receive the results of ASAI’s Architecture In Perspective 38 jury results for the selection of my color pencil drawing for exhibition and publication in the ASAI Architecture in Perspective 38 Catalogue of this year’s competition. The selected study was the culmination of the early conceptual phase of an open-tented theatre concept for the North Carolina Performing Arts complex, designed by Cesar Pelli & Associates (now Pelli Clark & Partners).

Engaged by this dynamic firm numerous times, and at such early stages of a project visualization, I was working in-house for a number of days to engage with Cesar and his design principals, reviewing the design, the physical and digital models, various plans, elevations and rudimentary model shots; my task being to create an evocative image of the theatre's early design concept for presentation to the sponsors of the project (which at the time happened to include the actor Tony Randall).

With my understanding of the visuals, and much trust and leeway from my long and continued association with the firm, I absorbed the design information, and began to sketch out some quick color study views based on various frames of the model photos. Not unlike previous illustrations on many other theatre projects, the more dramatic approach was to create an initial impact drawing, depicting the new facility in a night setting.

Working directly with color pencils on white trace paper (or onion-skin, in other design parlance), a number of evening or nighttime scenarios were initially explored, as in the first studies below. In this sequence that featured the cable-stay, suspended tent structure concept for the main performance space, a deeper night-time coloration, as well as a lighter evening setting were sketched out; as shown in the pairing below.

The sketches were also the? vehicles for the color palette that most dramatically enhanced the exterior form of the design; exploring darker and lighter sky fields, the one with a flat color field on the left, and the second version with a relief banding through the sky, were drawn.

These sketches, in a somewhat coarse, textural technique, were fairly small – about 8” x 10” each - and the drawing proportions differed slightly as the view shifted angles to perhaps better feature the suspension structure for the tent amphitheater. The square format of the purple sky drawing, below l, was almost square, and the black dark sky field study, below r, was a bit more horizontal. In addition to the color, the gesture direction for the color pencil application was drawn – in a flatter stroke angle on the left image; compared to a tighter, near vertical angle, complementing the structure on the right.

The team also asked for a more distant view, describing the full complex of this performing arts center, which was explored in a more expanded sketch; but the iconic main structure became less dominant as the signature element of the design; even though the appealing sunset-style coloration clearly accented that central piece; as below.

Assessing all these studies in a pin-up design group meeting with Cesar and the design team, the choice for the central amphitheater view clearly was the better approach. Developing the earliest sketch with the black background and using a more vertical stroking technique, more intense complimentary warm & cool colors, brighter light effects, with more careful definition of the cable structure against the sky, plus suggestions of other plaza details of figures, fountains and trees, resulted in the image below, selected from this AIP 38 Competition.

The image was also highlighted graphically by a much darker color edging at the top of the frame, that seemed to enhance (& contain) the upward thrust of the space frame. Not unlike other exploratory techniques, this work was inspired by and derived from my early viewing of architect Eliel Saarinen's etching of his architectural designs. And as opportunity provides, I've been playing with the coarseness and/or the fineness of stroking afforded by the color pencil media ever since - much to the satisfaction of my clients, and this Jury.

This year's drawing adds to over 45 images of architecture (with multiple awards in some years) that have been selected over the course of ASAI's 38 AIP competitions; including its World-class Award - the Hugh Ferriss Memorial Prize.

AFTERWORD: Prismacolor pencils are a staple tool for the design fields. The huge variety of individual colors provide rich, deep hues, which read in varying degrees depending on the drawing surface. Using white trace (a flimsy throw-away material) for all the study sketches and the resolved design sketch above, its translucent quality allows for a richer depth of color to be applied in layers and combinations (sometimes on the back, too) that enhance an idea.

In the use of these studies for an inviting theatre entry, contrast between lights & darks was the immediate intent; and the various color palettes (blues, purples, yellows, oranges, black) were explored, while searching for the right visual impact, and also describing the nascent design. With each sketch, and developing details from the design team, the resolution of the drawing became finer, along with my decision about the contrasting palette colors.

The entry "tent" and structure transitioned from the untouched white, lit surface as a focal point, with a mix of yellows and orange edging on the tent and base structures adding contrast to the surrounding cool blues and mid-tones of the theatre wings. The light, cool blue of the pylon against a quite dark, graded field combining yellow, orange, blue & black, enhanced the whole quality of light and focus; yet the bottom section was reversed out against the tent with a darker warm orangey color. Also a fine edge of orange was added to the roof profile and theatre screeds as a color and value contrast with the blues.

The varied directions of 45 degrees, horizontal, and near vertical bold pencil strokes (with a dulled, but controlled point), were also a device to lead the eye to the center focus of the sketch. The nearly black header feature at top of sketch helped to contain the upward thrust of the pylons, and provide a framing device for the entire sketch.

Strong Ideation - within the art form of a selected media and style of illustration - is generally my intent in using the visual tools, such as color pencils, to effectively portray new design ideas for my superb clientele.

Thanks for visiting; your comments are always welcomed.

And the drawing imagery is indeed copyrighted to FM Costantino.

If you get this far on the read, enjoyed it, and perhaps have an interest in a print of this piece, by all means, send a request.