Picked up a very nice BMW 520 Diesel at Victoria Station at 9:30 am. GPS is a must as there is always a learning curve driving on the left side of the road.
Drove to Windsor Castle and arrived at about 11. Very light crowds as it was threatening rain, but the tour did not disappoint. Beautiful collections of gold and silver work, paintings by Hans Holbein the Younger (who painted Henry VIII and Thomas Cromwell in the 16th Century), and amazing tapestries.
We then continued west and drove to the village of Lacock in the county of Wiltshire.
After a quick pint of a Wadworth Swordfish Rum Infused Ale, we finished the drive at our Hotel, The Bird, in Bath.
We went into town and visited the Jane Austen Center, well worth it for the animated presentation, and costumes to be tried on.
We walked through Bath and were amazed at the shops, restaurants and social scene.
We finished up with Fish and Chips and two Gin and Tonics at The Saracens Head, the oldest pub in Bath.
The office engages in a hybrid design process that is directed by analog forms of representation and digital production techniques. Each project is explored using a matrix of different media lenses, including painting, hand drawing, physical models and mock-ups as well as cad, hyper-photorealistic renderings and 3D computer models, wherein application and implication are prioritized. We believe this fusing of media provides a larger, more creative palette from which to work. Travel drawing also serves as a platform of inspiration and a fundamental aspect of research and development.
This approach stems from my own formal education and the unique 10-year period in contemporary history in which I studied architecture. Occupying both “paper” and virtual / digital environments, I learned the fundamentals at Tulane University using purely traditional architectural methods of representation. By the time I earned my Masters from Columbia University, the pedagogy had radically changed, wherein the old, analog systems of production were abandoned for a purely paperless studio that solely engaged digital technologies such as Maya, Max and Photoshop. Working within both territories, I learned that each medium has a profound effect on the way in which we draw, design and understand architectural space and form.
Meanwhile, after leaving Columbia, I set out to rediscover the practice of drawing on the road and have since made over 800 paintings, sketches and notes of architectural details, buildings, cityscapes, art and culture. These personal “drawings on the road” have evoked an intensive physical and living architectural investigation of how I process and perceive information. In the authentic and active experience of drawing — of physically recording what we see — I believe we develop a new way of seeing. We bring back sketchbooks that are full of information and analysis as well as a better understanding of architectural persistencies that make what we see matter. This level of engagement furthers the architect’s artistic intuition and enables him or her to see anew.