Anonymous asked:
Hey man in just starting my first year in architecture school and I wanted to know what tools should I get to get me started and with what quantities ??
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archtipsandtricks-blog answered:
Well since it’s October already, i probably waited too long to answer this, but I’ll go through some supplies anyway.
-Sketchbook. In Architecture, this is often used as much for notes and ideas as for sketches. Don’t be afraid to break it open and do some sketching before class starts!
-Set of graphite drawing pencils with varying lead hardnesses. You may later decide to go a mechanical pencil route, but in the mean time you’ll have a lot of options with a set of pencils.
-Drafting triangles. I’d say an 8" or 12" one and then a small one, like 4". I usually used the 60 degree ones, but you’re probably more likely to draw a 45 degree angle, so it’s up to you. (Never use this as a cutting edge. Not even once.)
-Architectural Scale (This should have ¼"=1’-0", 1/8"=1’-0", etc. rather than 1"=10’,1"=50’ because that’s an engineer’s scale. A lot of people made that mistake when I worked at an art store).(Never use this as a cutting edge. Ever.)
-Metal ruler, 12" or 18" (Only thing you should ever use as a cutting edge)
-Cutting mat, probably 12"x18" would be good, but the bigger the better.
-X-acto knife (with extra blades!).
-A more hearty knife. I would recommend a carpet knife, which has a long perforated blade so that when it gets dull, you break off the tip and essentially have a new blade.
-Modeling materials-you might have to wait on this one, because some professors are really specific as to what they would like to see, but budget it in!
So, those are basics that would probably start you off pretty nicely. Here are some thing that might make your life easier if you were, say two months into the semester…
A metal meter stick/yard stick
Circle templates
And a million other things I can’t think of right now
Help me! What’s you favorite tool, follower?!
I can’t do the think-work in the studio. The studio’s for putting stuff together – for work-work. And if we’re not doing work-work, then we leave. How many great architecture ideas have been drawn on napkins? Because they’re free, they’re not thinking about work.
Graphic Designer James Victore (via archistudent)
It looks like a train crashed through Farnsworth House
Someone on an external panel, on one of our models. (via archistudent)
Do you wrestle with taking creative risks? How do you balance doing something because it strikes you personally versus doing something overtly reflective of the film’s subject? When do you hold to a vision and when do you experiment?
I always experiment and I always push. That is what the client wants and it is what I am being paid to do. But if I ignore the brief, then anything I do becomes worthless to them. Or if I design something that is too abstract and self-inflated then it becomes meaningless no matter how beautiful it is. It has to communicate and it has to be interesting and stimulating — in that order. It is funny though that we call these “creative risks” — I think the only risk you take is when you ignore the client. And if you are going to do that then you better also have their version or you may get fired from the assignment. It’s a matter of trust, that’s all. And once that is established most smart clients will give you freedom.
- Danny Yount [x]
An insightful quote about the designer/client relationship from an interview with the creative director of Prologue Films, that designed the titles for Sherlock Holmes and Iron Man.
Deadlines refine the mind. They remove variables like exotic materials and processes that take too long. The closer the deadline, the more likely you’ll start thinking waaay outside the box.
I’ve learned over decades of building that a deadline is a potent tool for problem-solving. This is counterintuitive, because complaining about deadlines is a near-universal pastime.
I’d like the head I’m building to be animatronic. The lips would curl back and the jaws would open and snap out, just like in the movie…I know how each of these actions should work individually, but I keep getting stumped when it comes to choreographing them all to operate together. And when I’m stumped without a deadline, I tend to let things go.
Adam Savage - Mythbuster and Special Effects Designer extraordinaire [x]
(via archistudent)