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JC: Present it to yourself. Don't tell about it. Show it. And make it clear what it is that you are presenting, both for your own sake and for the sake of others.

 

DM: We assume because we sit and stare at our drawings for hours and hours that anyone else who looks at them will understand them only because we made them. And, you know, I sit at other critiques and look at a presentation and if it's...if there isn't something instantly there that draws your attention it's very difficult to critique a project.

 

I think it's easy to get into a pattern where you're doing something and you're not comparing it to the things that you're saying about it and once you have a critique and you pin it up and you listen to what you say, you have to ask yourself if that corresponds to what you're doing.

 

YE: Everything you do has to be on the drawing. You can't tell me anything. I don't hear you. Show me on the drawing. So, everything is drawn. Everything is drawn. So analysis is drawn. So drawings become a world that is not only plans and sections but ideas.

 

AM: How can you reinvent a way of producing drawings that will underlie the, sort of, thesis and your approach to thesis? One of the things I never mentioned because I just think it's too much and it's, you know, talk-a-tecture but is what, like, the drawings I was doing were all purposefully very simple drawings. They're all 2-D, black on white drawings. But when you get into them you start to look at them; there's tweaks in them one being the text, more of, sort of, a narrative of what's going on rather than telling you what specific things are. So, there is a constant investigation into how, what you're producing. There's a certain skewed view of what's happening.

 

YE: And usually there would may be a connection between architecture and other things architecture and art in my modes of representation, in my struggle for the representation to be its own object. And to get through the representation you get feelings I wanted you to get from something in my object. But they're two different things. In a way the drawings were representing something else and they were themselves as well.

 

TH: We went from the, sort of, talking and thinking phase into the drawing phase by doing, sort of, it was kind of an analysis. It wasn't really an analysis drawing. I forget what it was called. But it was sort of, like, a problem statement drawing where you, sort of, were forced to put pen to paper or pencil to paper and, sort of, draw out what you were thinking. And so that was kind of the leap. And those were...tended to be, sort of, really interesting drawings.

 

Thesis was about breaking away from someone telling you what the program and the drawing lists are. So it was all about coming up with what you wanted to show. We had people who presented oil paintings with their drawings that were of an idea. We had people present those first idea sketches, process board, things, pieces of trace somehow in a coordinated fashion. There was...models. I mean, there were so many ways to, sort of, go about your problem. I mean, maybe if you built a really excellent model then maybe a section cut or two dropped out. So it was all about what you thought was best for your building.

 

LF: And when we first came to Sci Arc experiencing thesis as first year grads was an amazing event. I mean, it was just like people built out spaces. It was just this huge...just festival almost. I mean, it was a phenomenal experience. And I think it was kind of primarily because most people hadn't used the computer yet. And it's interesting that since we were at Sci Arc the computer really invaded in the studio not invaded necessarily but virtually everyone uses the computer and thesis this year was very, kind of...people were standing back. I mean, it wasn't a physical engagement as much as it was, kind of, three years before.

 

And I think students too often in thesis, you know, have this idea and they want to remain true to that and they don't...and there's a sense that it's all from within. It's all from them. And there's no, sort of, recognition of exterior forces that start to shape things that are outside yourself either, you know, the colors you use, the materials you use, the people you sit next to, the critics you have, the things you read. You know, all these other forces are shaping the work that you do.

 

CR: It sort of came to this point where we were, like, okay we've done what we're going to do and now, like, it's how you represent it that is gonna convince people, you know. And almost at some point the representation became the thesis.

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