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AIP 26 - Selected Entries

AIP 27 Student Competition Results

The range and variety of the submissions prompted us to reflect on how students employ drawing to learn with and to learn from. We recognise that many students in the design disciplines have to acquire and build confidence in drawing and representation in order to strengthen their visual and technical comprehension. Drawing is used as much for the exploration of form, place, and experience as it is for the generation of a personal visual language informing and representing design ideas. The submissions we reviewed represented a spectrum of motives that impel drawing from conceptual exploration, technical enquiry, and formal composition through to the representation of narrative and to sophisticated representation of the final form. To best recognise how students use drawing and illustration we selected images that exemplify the many ways that drawing is harnessed as part of an educational journey. For the Award of Excellence we selected an image that provides an enticing reminder to us all that informed observation can drive the emergence of conceptual ideas that address the shaping of place, structure and form.

Michael Keniger, Brisbane, Australia

Student Award of Excellence

"Beauty + Nature" Shannon Thompson, Bond University, Australia

Jurors' comments

Experienced practitioners are at ease with the process of design but for students there are so many dilemmas to be faced. How do design ideas take shape and what informs the enrichment and enacting of these ideas as they are realised? What roles do visual enquiry and communication take in the comprehension of design and the application of imagination?
Having taught many students and observed their struggle to start out in design this image conveyed to me the emergence of an architectural idea derived from the observation and analysis of natural forms. Its lyrical mood revels in the realisation that vaulted and free form nets could become structure and space, enclosure and form by emulating the organic mesh of the lines of the trees beyond. The “eureka” breakthrough is highlighted by the slash of bright colour drawn through the softly focused collage. We are invited to engage with the idea and its source – and to determine further possibilities by ourselves. This is an image that grapples with the seed of a design rather than the representation of its eventual form.

Michael Keniger, Brisbane, Australia

At first I was put off by the abstraction of this image; it is unlike anything I have done or, I suspect, am capable of doing. But as the jury progressed, I couldn’t leave this photo-collage. In it, I feel the attempt to isolate the effect of filtered light in a forest, and I can imagine the student who did this found, in the process, something they didn’t know when they began.
Barbara Ratner, Atlanta, USA

Closing my eyes after going through all the works on the day of evaluation, the afterimage of this particular work somehow stayed in my mind. It is a collage of images in the forest, and this specific area painted in red in the middle of the background in subdued colors gives a fantasy-like ambiance to the entire work. The illustrator is highly artistic and has an ability to sensually formulate a painting. I will look forward to her further success.
Masaaki Yamada, Tokyo, Japan

Student Award of Merit

"Urban Clusters" Jessica Spresser, University of Queensland, Australia

From my first glance at all the works in the Student category, I was engrossed by this perspective section drawn in pencil, in the midst of a faintly colored background. Since then I must have been intuitively intrigued by the tenderness of the work by Jessica Spresser.

Her work tactfully describes the precise details of the room and, at the same time, sufficiently illustrates its architectural functions. Its sense of scale is also expressed in a very impressive manner. Some photo images are used for human figures, however they are superbly collaged and harmonized into the work. Trees and buildings in the background are drawn with suppressed use of colors, which delicately creates a sense of transparency. This is probably why the 3D perspective section drawn in pencil stands out so strongly.

The lively activities of people are illustrated on the steep site, where bright light shines and wind blows, providing viewers with a peaceful, uplifting impression. All of these elements are elegantly balanced, which contributes to the total ambiance of this work.

Masaaki Yamada, Tokyo, Japan

Student Award of Merit

"The Journey begins at Home #3" Matthew Kerr, Academy of Art University, San Francisco, USA

Student Award of Excellence

You are missing some information. What you cannot see in this image is that it is the third in a series, a narrative. The images progress from a cozy, woody interior to a charming exterior view to this mysterious, overwhelming space.

The interior has intimate scale with blue-green accents, some of which are maps; the exterior view introduces us to the modest building itself, but the visual emphasis is on a lovingly detailed old, green truck with a backpack propped up nearby. A trip is about to begin.

Those images were a build-up to this eye-catching drama. The bold lighting and aerial view focus on the human figure, and we immediately sense the scale of the mystery we are in. And then we see the truck, the green truck that we the jury last saw saw parked under a craftsman-like building in a rural setting, all greens and blues. Now that truck is the only color in a space created by dry, warm ochre walls, and we are invited to wonder what on earth has happened that a building of such scale and solemnity has sand creeping in it’s door.

War and abandonment? The Unknowable Other? Ecological disaster? Big wedding at the church across town? We can’t know, and that added to my pleasure.

I responded to this image in the first go-rounds because it is an increasingly rare thing: hand-drawn. It’s a technique that makes clear this is a personal attempt to say, “Here is what I imagined; follow me.” The skill with which the story teller’s intention is carried out is admirable in all three images--it was only in writing this piece that I noticed how careful the use of color is in the three, leading to the choice of making the truck the only color in this picture. And there is a totally intentional progression of scale from near and human to almost inhumanly large. Light defines spaces in all three images, but in this one it reveals what is most important: the figure who brought us here, whose wonder and curiosity have led us this far.

I love a good story and want to know what’s next.

Barbara Ratner, Atlanta, USA

Student Award of Merit

"Happiness 3" Koichiro Sugiyama, Tokyo University of Arts, Japan

Student Award of Merit

Our world is saturated with so many images delivered via an expanding array of media and yet this does not ensure or enrich visual literacy. Illustration in practice is often driven by the need to convey an accuracy of presence and yet at its best may also provoke speculation and enquiry.

The formal, full-frontal elevation illustrated in this entry derives strength from its reticence – from what it does not convey. It is positioned within the proscenium-like frame of the dark foreground and enclosing foliage sliced though by a stabbing blade of sharp, strong light heightening the drama of the building and its immediate setting. The simplicity of expression is enlivened and given depth by the use of glancing and reflected light to reveal detail and substance of the material, spatial structure and form of the edifice. The subtle illumination defining the layered planes within the elevation invites enquiry and speculation as to the nature of the building and its role. This restrained, theatrical composition provokes us to question what has been enacted – and to propose that which is yet to come.

Michael Keniger, Brisbane, Australia

Jury for Student Awards

Masaaki Yamada
Masaaki Yamada is a nationally recognized illustrator and based in Tokyo as Chief Illustrator, Director, heading the 40 member presentation section at Nikken Sekkei. Nikken Sekkei has been involved in over 20,000 projects in some 40 countries, in both the public and private sectors, including governmental, educational, cultural, medical and residential facilities. Currently they have over 2,500 employees, developing the would’s largest architectural firm. Masaaki became one of the partners of Nikken Sekkei in 2008.

Born in Tokyo and raised in Nagoya, Masaaki graduated from Nagoya University of Art with degrees in fine art in 1982. Massaki has been a member of ASAI since 1995. Serving as President in 2011, he successfully negotiated for ASAI to jointly participate with the International Union of Architects (UIA) Congress Tokyo 2011. His illustration work has been recognized with many Architecture in Perspective Awards of Excellence and a Juror’s Award in 2009.

Barbara Ratner
Barbara Worth Ratner, M.Arch. Yale, has worked since 1984 as an architectural illustrator. Self-taught and having experimented with airbrush, ink, marker, and colored pencil, Barbara settled on watercolor as her primary medium. She is a member and past president of the American Society of Architectural Illustrators (ASAI). Her watercolor illustrations have appeared in numerous ASAI juried exhibitions, and in 2011 she received the ASAI Sketch Award.

Barbara was born in Illinois and grew up drawing animals and particularly horses in Lafayette, Indiana. In Atlanta, she worked as a staff illustrator in an architecture firm and in 1990, she began her own illustration business. Her paintings have been a part of some of Atlanta’s most ambitious projects, including a Calatrava design for the Atlanta Symphony, Centennial Olympic Park, Underground Atlanta, and an addition to the High Museum of Art.

Michael Keniger
Michael has extensive experience as an architectural educator and as a senior academic at the University of Queensland, Australia.

He was Queensland Architect of the Year in 1998 and Queensland Government Architect from 1999 to 2006 advising on urban and architectural projects of major significance. He has contributed to the selection of designs for many major public and university buildings and projects and is familiar with all forms of architectural representation.

He is a member of the Board of the South Bank Corporation (Brisbane) and has helped guide this significant urban revitalisation project since 1997. His review of Queensland’s Public Art Policy in 2005/6 led to the current Queensland Art+Place policy for public art.

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