During the second term our students will understand and try different art genres in order to be aware of their way of looking at things and thus structuring their understanding and providing them a very useful tool in the creative process. Therefore we intend to:
- experiment different materials and their infinite treasure of plastic and architectural combinations
- guiding students' awareness through the composition principles of both fine art and architecture so that they realize that these are not separate fields.
- practicing the joy of creating spaces without any functional limitation in order to develop imagination and creativity.
6. Morphology and topography (double task). The students have to make a selfportrait out of wire, sticks, plastic, carton, metal, etc. Then each student has to make an imaginary portrait of clay arranged in horizontal layers. The techniques to be used for the first task are at choice. For the second task the required technique is modelling clay.
7. Substractive and additive changes (double task). Using sketching the students have to practice different ways of changing a cube by substraction or/and addition while keeping its identity intact. The most interesting idea presented will be clay modeled. For the first task a half hammer cardboard or transparent plastic is to be used and clay for the second task.
8. Centralized, linear and radial structures. Inspired by a certain abstract painting each student has to imagine a radial organized structure not larger than 70/70cm. Then a third dimension will be added to the composition. For the second task the students have to draw an imaginary architecture based on their composition.
9. Network structures. Each student has to create a network volumetric structure not larger than 70/70cm. The structure will either be colored (acrylic colors) or be given some colored traits. Materials to be used: roosts or carved wood branches, pieces of balsa tree wood, etc.
10. Cluster structures. Taking as an inspiration source a certain architecture object each student has to imagine a cluster volumetric structure. The height and the technique of the structure are at each student's choice.
Theoretical explanations to all the students from the year, a week before the practical work, practical works realised in the studio, with guidance.
Arithmetic average achieved between the 5 works.
Borchardt-Hume Achim and Coxon Ann, Alexander Calder: Performing Sculpture, Yale University Press, 2016, U.S.
Liversain Patricia, Modeling in Clay, Trafalgar Square Publishing, 2000, U.S.
Arthur Dorothy, Modelling In Clay, A&C Black, U.S.
Rickey George, George Rickey Kinetic Sculpture: A Retrospective, Vero Beach Museum of Art, 2007, U.S.
Hunter Sam, Daniel Wheeler, John Jacobus, Modern Art: painting, sculpture, architecture, photography ,
Pearson, 2003, U.K.
Lawlor Robert Sacred Geometry, Thames and Hudson Ltd, 1982, London, U.K.
Frascari Marco, Eleven Exercises in the Art of Architectural Drawing, Routledge, 2011, Oxford, U.K.
Wucius Wong, Principles of form and design, John Wiley and Sons, Inc, 1993, New York, U.S
Marco Frascari, Eleven Exercises in the Art of Architectural Drawing, Routledge, 2011, U.K.
Robert Lawlor, Sacred Geometry, Thames and Hudson Ltd, 1982, London, U.K.
Wassily Kandinsky, Concerning the Spiritual in Art, Dover Publications, 1977,U.S.
Vivian Endicott Barnett , Kandinsky, Guggenheim Museum, 2009, U.S.
Wassily Kandinsky, Cours Du Bauhaus, Denoël Gonthier, 1975, France
Anna Moszynska, Abstract Art, Thames Hudson, 1990, U.K..
Deicher Susanne, Piet Mondrian, Taschen, 2000, Germany
Milner John, Piet Mondrian, Phaidon Press, 1995, U.K.
Blau Eve, Architecture and Cubism, Mit Press, 2002, U.S.