Contemplative composition in landscape: a mark making methodology

Amy Robertson

Landscape dragged
Compositional mapping of flow state: Opoutere Beach.

This thesis is one which sits within methodology rather than putting emphasis on concluding with a building. The methodology was developed from a curiosity to define and understand my own personal approach to the architectural design process. This thesis questions what the drawn line means for the surface it is drawn onto and how this can develop a connection and relationship with the landscape. This thesis uses the term 'landscape' to define a plane on which an inhabitation of space can be imagined. Whether it is tangible or intangible landscape, the lines drawn in, on or above it is a direct response to the way the surface feels and appears. Through this thesis, I will be pursuing a deeper understanding of my own relationship with architecture by broadening my knowledge of the concepts of the line and landscape.

Process and methodology:

The process deliberately moves from the two to three dimensional and critically analyses the contemplation between each translation. While the method progresses, it brings in moments and techniques used in prior phases to create a cohesive, legible body of intentional mark making. As the thesis is anchored in curating compositional forms in a landscape, mapping became an instrumental technique to push throughout the process. These compositional forms are created through tracing the way the landscape is interacted with and moments of personal note during the time spent drawing within the terrain for extended periods of time over multiple visits. Each phase of the process overlaps with the last to clearly show the translation from one decision to the next. Where these overlaps occur is where the richness in process is found and starts to create the architectural language, which is evident in the final compositional forms.

I have structured this thesis into three phases within the overall process. Each delving into a specific aspect of my mark making process and how one influences the other. The intention of these phases is to suggest alternative ways of viewing the design process and its outcomes through interdisciplinary drawing and making.

Hybrid 01
Hybrid sectional drawing facing north Te Henga, Bethells Beach.
Hybrid 02
Hybrid plan drawing of the outlet. Te Henga, Bethells Beach.
Hybrid 08 1
Hybrid elevation drawing facing the ocean. Te Henga, Bethells Beach.
Hybrid 05 1
Hybrid plan drawing of south Te Henga, Bethells Beach.
Hybrid drawings8
Hybrid elevation drawing facing south Te Henga, Bethells Beach.
Tezza 0628
One from three final drawings. Line composition reflecting time spent in landscape categorised as: Pause, contemplation, extended meditation.
Tezza 4937
Three final drawings. Line composition reflecting time spent in landscape and how it was interacted with.
Tezza 5167
Transition between perpendicular relief frame and drawing
Tezza 8493
Image of Opoutere Beach intervention accompanied by process photos below.