that was cool. I do not look like that picture anymore. good morning. How? How you doing? Good morning, sir. I'm great. And that was a fun. A fun intro, right? We, mm-hmm. we, we created that video in last season and it hasn't been, flexed too much. No. And so now we had a great opportunity to, reintroduce. So, actually here, let me play around with more technology.

Jamie: 1:03

Well, not only like flex, I mean like your bro like gave us the music for it. I mean, we actually. Like, not scripted it out, cuz why would we do that? But we did fiddle around with which, which images we wanted to use. And yeah, so, it, it turned out really great. I mean, your editing on it was, was

Kurt: 1:23

pretty on point. Thanks. You know, it's kind of funny to see it on a big screen cuz it's, well on a, I don't know, in a live, in a live, screening, I guess in a way. But, it sort of flashes very It's super quick Yes. Sketches into the, into that. So

Jamie: 1:43

hopefully it's not a strobe, but it's, it almost

Kurt: 1:45

gets there. So, yeah, we, you might need, you know, I've, I've noticed in some shows, that I've watched lately, they put warnings like. you know, content or content or contains, what does they say contains flashes? that could be disturbing to some people. Yeah, we need that dis, I should have added that to the ticker at the bottom here. didn't know that our, our, our sketches would have that kind of impact. But the, you know, speaking of Charlie, our, our musical. collaborator. He actually put out an ep. Did, did you know

Jamie: 2:19

that I, I, I saw that he was, well, you told me that he was going to, and, and then I did. It is out that it is out. Okay. Okay. I have, so I then I, I did see that there was a link and I just,

Kurt: 2:36

let's, throw it up on the screen here. Yeah, gimme a sec. You. Keep everybody entertained and I'll just, try and find this thing. Oh, I'll

Jamie: 2:45

keep everybody entertained. Okay. Yeah, that's, just kidding. yeah, I think that's Zuko job cuz he just jumped up on the, the, that's right. The table here. Yep.

Kurt: 2:55

where is it? Let's see. Is this the album? I can't remember. No, that's not it. Well, you know what we should do? We'll just do this. I will grab Charlie's link. Oh, the compilation is probably here, let me put it in a, in a thing here. let's see what, I forget how he pronounces spells his name. Not his name. Name, but his, no.

Jamie: 3:23

Hi. His is cold fashioned. Yeah,

Kurt: 3:25

I think it's a zero.

Jamie: 3:27

It's a zero.

Kurt: 3:29

I'm gonna get it wrong. I think it's like this. He's gonna get mad. But

Jamie: 3:33

there's an underscore in there too.

Kurt: 3:35

I think so. I think, I think it's like this. So let's show that. No, it's not. Oh, I could, I could edit it. Let's, you know, it's

Jamie: 3:48

is, this is like wordle, like wordle with.

Kurt: 3:53

I, what I should do is here. Sure.

Jamie: 3:56

With cats, it's C underscore zero. Okay. LD fashioned.

Kurt: 4:11

C underscore zero. Ld. Is it, is there an underscore or just

Jamie: 4:17

No, no, no. Keep going. All one word. All together. Oh yeah. All one. Like this? Yes,

Kurt: 4:26

we did it as in classic coffee sketch, podcast, fashion. Yeah. It takes two. It takes two. So, so what are you drinking in the, in the morning in your warm Texas, warm

Jamie: 4:43

Texas winter? Yeah, it's like 65 here. no shoveling snow for me. but the Grackle is in the pot, from little city. it's still have enough, and definitely got the beans so, ground some fresh this morning. Nice. Excellent.

Kurt: 5:04

I'm, here, let me, you know what, lemme turn this yourself real, real quick. The, I actually started off the morning with that gifted Detroit Bold. Mm-hmm. I had a nice big cup of that. And then I went out to shovel snow as you were alluding to So I got, as soon as I finished my coffee, cuz that's, I then, suited up, helped my neighbor. So I, so our new house, this, this new house actually is a shared driveway. Okay. Yeah. Neighbor. And so now we have that, you know, community aspect to, so he got out there first and started pushing snow around, and including on my half near my. So it was like, okay, let me go help him get up and go, you know, help do the rest so he can, you

Jamie: 5:58

gotta a hustle. Yeah. You got a na you got a neighbor who's like, like he's on it.

Kurt: 6:03

He he was, he jumped on it. Yeah. So we did that and talked about, what did I, talked about home improvement, And, and also talked a little bit about another, with another neighbor across the street, was asking about, so this, this neighbor with the shared driveway, he, he makes, he, he makes he, roasts coffee, remember, right? Yeah. Yeah. And so his, he's picking up his business a little bit and, he's got a, a couple of like, bread, bread slash bakeries, you know, that. buy his stuff. And so he's, he's thinking about upgrading his machine, so we'll see.

Jamie: 6:46

You might, you might know a thing or two

Kurt: 6:47

about that. I, I've, I've learned, right? Yeah. You navigate the code book and now you become the expert Right? Right. Could be a worse, project type to be. Well,

Jamie: 6:59

so as you're talking about home improvements and project types and snow, one thing that I thought was sort of interesting, and it sort of segues a little bit to, the weather here and, you know, a first little, little mini sketch. but, you know, so is there a, there is a season there where sort of construction stops, right? I mean, for the most part, I mean, or, or better yet, you don't start projects at a certain point in the year, and if they're already moving or dried in, then they keep going. But you sort of preplan things because you can't really start'em when the ground's frozen. Right,

Kurt: 7:40

right. Well, yes and no. I've learned, most. So there are, there's a, there is a, a, a component of every construction budget that's called winter conditions. And so it, it increases the cost of

Jamie: 7:55

not here not, not, not here. That, that is not part of the, that is not part of the general conditions of, You know, contractor agreements with their owners here? No,

Kurt: 8:06

not well. Yes. I, I, I In Northern States,

Jamie: 8:10

yeah. It might be buried in some general conditions for that, that contractor who's moved from being a Michigander to Texas, they might just have it as like a, a little subparagraph.

Kurt: 8:21

Right. But yeah. Yeah. So the, anyway, yeah. Winter condition, so general. if you're tight on the budget, you don't wanna start a project in the winter. And although, so the contractors that I, I'm currently working with, they're like, we'll go year round. You know, the guys will stay busy and, there are certain limitations, right? So if the weather is a little warmer, they can start, you know, they can dig foundations, they can even pour concrete under certain conditions. And then they, you know, add

Jamie: 8:57

Yeah, they do AIX mixture

Kurt: 8:58

kind of stuff. We, we call them admixtures. Yeah. Contractor calls it a drug. He says, we drug, we just drugg the concrete drug,

Jamie: 9:07

the concrete

Kurt: 9:09

I kind of like that term better, but you know. So, you know, yeah. The, any,

Jamie: 9:14

admix, is that an official AGC kind of terminology there, or

Kurt: 9:20

or aci, isn't it? The American Concrete Institute. Oh, okay.

Jamie: 9:24

Yeah. Yeah.

Kurt: 9:25

I don't know. It's, but the thing is, it is, we're sort of bouncing around tiny bit, but like, it's, the, the, the, the colloquialisms of on. you know the field, right? Right. You know, drugging concrete, you know, of brick. The, the brick mason is the bricky, the electrician is the sparky. Have you heard

Jamie: 9:52

these? I've heard some of these. Some of these, yeah. And some of these sound very michigander to me. I'm, you know, at the same time. So,

Kurt: 9:59

I think it depends on the day. You know, like some subs probably wouldn't necessarily call each other. by these days.

Jamie: 10:06

Hey, Sparky, No.

Kurt: 10:09

probably not unless they're in a mood. yeah. But yeah, so typically things slow down. you know, there is a joke. I I, I dunno if you've seen it, but, you know, with, with road construction or highway or, you know, state road, federal Road, whatever. So when they're doing all that, Across the country. You know, here in Michigan though, or northern states, they, they call it, there's two seasons in Michigan right there. Construction season for the roads, and then there's orange cone season for when it's winter and they can't work, but they haven't finished, so then they just line up all these orange cones, or I might have gotten that backwards, but yeah, you, you often see these orange, you know, cones for dividing lanes and taking lanes away and all that stuff. You know, anyway, so I wanted to point out though, so I've got, you've got a sport shirt on your soccer shirt and I've got my Flint Town disc golf

Jamie: 11:12

club shirt here.

Kurt: 11:14

They're both representing some athletic sports that we

Jamie: 11:19

appreciate. Yes, absolutely. So yeah, the, the, the first sketch, yeah. Is sort of in that vein of construction. it is, it is, a site that we had, talked about before when it was in the, conceptual design phase, I guess, and sort of, you know, presentations that were being kind of made of, A celebrated architect taking on an interesting site in downtown Austin. and then the, you know, construction sort of started, but then it just, it, it didn't seem to to move very quickly. and the reason why I wanted to talk about this one today was that, you know, this was only, about, about a week ago, or this week. and, I had a meeting, Not offsite, but, you know, I work kind of in the, in the capital complex area, of downtown. And so our, our team had a, a meeting in a, in a different building and was able to actually see some of the new capital complex, which is slowly starting to open now. they've, they've closed a street, and done sort of a pedestrian. Connecting or linking the, Texas state capital to the edge of the university. so this, what you're seeing is sort of that axial connection to the university, which is quite nice because it is a plaza space on the university side of the street, that is in between two sections of the Blanton Art Museum. And so you're seeing the two buildings on either side. And then in, in the, the small little kind of curved little building in the background with the little, punched openings is the last work by Ellsworth Kelly, the artist. so this is a, sculpture slash building that you can inhabit. that's p. and was designed by Kelly, executed, by Overland Partners, the architects in San Antonio, onsite here, in Austin. And it's, it's a beautiful, it's a beautiful little chapel, kind of non-denominational kind of artistic space. each of the panels there has different colors. so the. Refraction into the interior is really quite, quite amazing. but it, it's, it's a beautiful space to experience. But there's a, there's a plaza in front and we've talked about it before and that's where, snow head. was going to be sort of both doing some remodeling and redesigning of some of the aspects of the interior of Blain, but then addressing in a really expressive way, this PA Plaza space that really doesn't have very many people congregating in it. there was no shade. there really wasn't anywhere to. kind of an underutilized space, honestly. and the reason why I'm, I'm sort of talking about it so much, was it was really great to sort of see this without all the cut instruction, in the way from the capital side. so the access really starts to make sense. but also the pedals that you're seeing here are slowly becoming, realized and. Somebody made a comment on my Instagram sort of saying, oh, hey, is that thing done yet? and I have to admit, it's, it is sort of seems to be a slow construction process. cuz they apparently, I think they were down here for your entree architect, oh yeah. Meeting, last. And so they were touring around the campus and saw some of this in construction. So, but yeah, this, this, this sketch was, quickly done in chu, and,

Kurt: 14:30

much faster than

Jamie: 14:31

construction. Yeah, definitely much faster than I, I tried to, I, I, I can't think of the last time I really drew a construction site, so, but this one was, Really kind of

Kurt: 14:42

interesting, I think. Did you send a picture of it too to me?

Jamie: 14:46

I did. I sent you the picture.

Kurt: 14:47

Yeah, yeah, yeah. Cause it is kind of cool to see. We did talk about this last season, and concept and, and then we kind of dug around into the, design work and, and concepts and, and maybe the engineering of how they kind of put it or we're going to execute it. And so, you know, maybe it's orange cone. Coming,

Jamie: 15:07

definitely Orange Code season at the, at the Blanton right now. So,

Kurt: 15:11

so, yeah. Cool. Good. good update plus, it it, yeah. From the photograph, which, will make sure the people take a look at It's that thing, it's that thing done yet don't ask that question anymore. Right. I don't, I tell my clients all, all the time. So you wanna, it's just a quick update, right? And we're going to, yeah, yeah. Next,

Jamie: 15:34

let's go to, let's go to the, the, the ones that were really on deck.

Kurt: 15:40

Oh, here, let me hide that real quick so we get a full view. So yeah, we've got three that will jump. I'm gonna let you cue me to, to move when you, when we need to, to kind of highlight the, the different sketches. But, you, you quickly, quickly pushed out three, three very cool sketches that, that this is the well. maybe sequentially. If you went to the Instagram page, this would be the first. the first of these three. But anyway, I'm, I'm back, back in awe of Jamie's ability to visualize a, a, a version of a dystopian feature. maybe this is. Sort of spinning off of, our recent conversation about that TV show, the Peripheral, which, which we started watching in our household. And so I'm two, two episodes in, I got Danielle caught up to the first one, so we will quickly be synced up again. But the, a very interesting show. and, and, and now it makes me wanna read the. Because I'm gonna imagine the book is, is better as often they are. but yeah. So this, this sketch, Jamie, well, why don't you just tell us what, if there is any connections and, what your thoughts were on making this thing.

Jamie: 16:54

I, I think there are connections in terms of, yes, it's sort of. that architecture of kind of a dystopian, fictional reality, a near future, kind of concept, definitely is in the, in the brain right now. and I think one of the things that we've talked about before is that, this kind of concept of towers. you know, towers and sort of tall buildings. they've always sort of fascinated me and, and yet I've never actually really worked on, I've worked on a couple, but very, very sparingly. And so I think that, the, the idea of those carbon, carbon scrubber, towers that sort of dotting the, the landscape of London. really kind of has stuck in my brain, at least this week. I think maybe because I was really trying to encourage you to kind of watch it and then when you started to, I was very excited. I was like, oh, good, good. We're gonna talk about it. but yeah, I, I think this, this was sort of an idea of, a tower in, Kind of a landscape. actually the, the, the thought that I had too was I I saw somebody had been posting some things, you know, I mean there's a lot of traditionalists, that are sort of, of questionable, intent, on the Twitters. And so they, they get an a bent every once in a while of, you know, a series of photos. And the current bent seems to be kind of this aerial. Of, kind of, not necessarily Tuscan hill towns, but sort of hill towns and things like that, where there's this, you know, this texture and this reality. you know, we we're not gonna talk about that, but one of the shots was, it wasn't Mult Saint Michelle, but it looked like Mount Saint Michel. And so that's like, was in my head, this particular day and I thought, what if you took a kind of futurist intent and placed it on Mon Michelle? Like, what would that look like? And so that, that's where the sketch mm-hmm. sort of, you know, become, so you see the mm-hmm. kind of the lower city, kind of the, the touching the water and then. you can almost see a pathway kind of crisscrossing, mm-hmm. the, the, the rock, and then little bits of in, in, in, in, you know, habitation that you sort of get suggestions of. And then almost like an old city at the top of it, you know, that's at one scale and then this super scale that's sort of superimposed on top of it. and I think, you know, you know, as much as. myself as an architect and as an artist, you know, this whole kind of concept of, urban planning and, you know, the imposition of architecture in certain spaces and, you know, what that does or the juxtaposition of different scales or styles. I think it just has always been fascinating to me. And so, you know, kind of letting my mind kind of wander really quickly. into this imagined realm is, is sort of, you know, where the sketch kind of goes.

Kurt: 19:53

Yeah. Cool. Well, the, the scales that you're talking about where, you know, the, the mountain town or the, the lower level, the lower portion is, you know, much smaller detail and, and sort of at this particular scale. And then you have the supersized tower sort of crashing into the top of it, which is, I. the fact that it is so much bigger and smoother, right? Like it's less, less ornament. and, and sort of has this sort of futuristic or spaceship like sort of sleekness landing on top of the, the, the lower thing or, or you know, sort of intersecting with the, and creating the whole composition. I could totally see that. And once you described, once you said Mount St. Michelle as a concept I could see how that integrates together. And and then also then going back to the show, the peripheral and. I still haven't come across, they haven't talked about those things, the statues yet, the monuments, statues, whatever they're called. And so they're just there in the background and you kind of see them. They're not necessarily like, you know, the Statue of Liberty where it's just an a, a, a depiction of a, a person, right? But they're these sort of hybridized statues with these. like blocks, kind of, sort of like pixelated or whatever. I don't know. It's kind of an interesting look. So there's sort of a hybrid monument plus some other sort of function to them, which we haven't yet figured out. But some of the, the drawing techniques that you're using, like, So back to our crosshatching, and the vertical lines below for this sort of grounding and then the sort of really sort of dry marker. I'm assuming it's the prisma along the sides that's kind of rendering a little bit of depth to the background, but it's kind of neat in a way, almost given that you paste, you know, you put. Black and white. It kind of gives it this sort of, pencil, like, you know, a, a graphite look

Jamie: 22:03

to it. So,

Kurt: 22:09

and then well, yeah, I don't know. So it's really just pen and prisma. Right? Unless you're

Jamie: 22:15

sneaking in just read pen and the prisma color. and, and just sort of the, the weight of that Prisma, kind of knowing, you know, it is probably one that's on its last legs, I'll admit. but it's also sort of allowing, me to kind of do a little bit of extra and there's the Statue of Liberty, so Yeah. Right scale. Yeah. For scale. Just for scale.

Kurt: 22:40

The, that's. Just I love, you know, this is a fun part as we already brought up, you know, that we can add, you can enhance, this is like augmented reality, a little bit. Adapting Jamie's sketches with in

Jamie: 22:55

real time. Yeah, because I mean, remember the drawings are not sacred. I mean, you know, both of us, both of us are, definitely of the camp that these drawings are not sacred. you know, most aren't, you know, almost sort of until they're in a frame on the wall, that's sort of about the point where they become sacred.

Kurt: 23:12

and even, well, yeah, I suppose, well, you've gotta memorialize it at some point. It's one of those things too that, I've thought about this recently and, and we can maybe segue to the next sketch, with my students is the idea which always comes up right, is the idea of like when to stop designing. You know, so when do you put the pencil down and, you know, I'm sure. I, you know, I'm sure you, you don't necessarily return to too many sketches from time to time, but just the idea, just something to keep in mind, right? It's like the sort of open-ended nature of, of, of designing and

Jamie: 23:48

sketching. Well, I, I think, yeah, and, and along those lines is no, I don't necessarily go back to a sketch, hardly ever. very, very rarely, but I would. Go back to a sketch, as an idea to, but I would draw it again, you know, and, and sort of elaborate on it in another form. so if it's, you know, a working sketch or something like that, even, you know, I'll keep it, you know, it's, it's not going anywhere. you know, I'll, I'll reference it. you know, if there's, you know, if it's a dialogue, like if you or and I were, were sitting across a table or even sort of a, a screen and, and working on a sketch, or a concept together, then yeah, absolutely. I think that, you know, if, if I was drawing some, I would fully expect you to draw over what I was drawing. you know, there wouldn't, there wouldn't be any, surprise in that for me. Yeah,

Kurt: 24:46

and I, I, I when I'm drawing with my students too, I kind of, don't apologize. Sorry, I was turning off the screen real quick cause I wanted to find something here. that your second, your next sketch is kind of reminding me of and, oops. But anyway, yeah, I, I, I draw on top of my students drawings and then I say, you know, don't worry, draw on top of me Like, this is a process, a sort of, a shared process. But,

Jamie: 25:14

I mean, I, I will definitely. You know, if, if, like, if I was working with a student or, or a colleague or something like that and then, you know, it's clear that they've spent a lot of time on this, you know, particular image or something like that. I wouldn't presume to, to draw on it, but I, I might grab a piece of trace and put it over the top of it, you know, before doing it. But, you know, just to make that clear, for somebody who, who might be like, Jerk. but

Kurt: 25:42

like, like this guy has Yeah. Has no respect. No respect. So, so

Jamie: 25:48

nothing sacred

Kurt: 25:51

How dare how dare he? So, oh, interesting. This next sketch, and, and you're, cuz we're in the same mural or we're sharing a, or we've got this sort of mural space. We're col collect the whiteboard. All right. Let's just call it the. The whiteboard and I, I had come across, this building above, that I thought this was interesting, and I don't know if you found that link on the whiteboard and then created this sketch below. but there's some similarity to me in your sketch and in the building above and in that, and if you didn't find, you know, if you didn't follow the link to that building, it's just kind of a nice serendipity of what makes a particular, composition or massing. Like if you, you know, we often. Look at these as the lens of an architect. So is it a sketch of some conceptual building form? sometimes it is, sometimes it's not. Or sometimes it, it winds up being that way. But, anyway, your, you know, your sketch has a lot of proportional, and forms that, that sort of mimic the, the, the building above in this. well, I guess in both cases they kind of look like these, these spaceships, you know, the building that's in the picture plus your sketch, these, if I were to try and describe it, it's like a spaceship that is landing on the ground plane. Right? Or, I dunno if you're familiar with Stephen Hall's like horizontal skyscraper project. Yes. Yeah. So there's this idea and he's, he's had, he has this concept of like, you know, above. On ground, in ground, below ground, like different ways to engage the, the landscape and, and the context for any design project. And so similarly to the horizontal skyscraper, whoever, anyone who's familiar, your sketch and the building I just showed above. So maybe I'll pull it into the frame here, but. That sort of landing, you know, it's not necessarily in the ground, but it's kind of above and on the ground, and that's where I'm gonna see what you say about that Yeah.

Jamie: 28:13

No. Well, I mean, and what's, what's I, I, I, this is not a building that, or a project that I'd seen before. but I, I appreciate the spark that it's, Sort of elicited in, in your own memory? cuz I think it is, it, it, there there is definitely some similarities with the approach to the sketch. you know, from the standpoint of that it is intended as sort of this massing study and then kind of slowly thinking about layering. Oops, sorry. You know, from a, a pseudo aerial perspective, whoa. Sorry about that. on clock, we're on the clock apparently. I've got a cat who's roaming around, a dog who's sleeping, and then alarm clocks going off. It's crazy. it's a busy day, but no, yeah. I mean these, these figure field diagrams that you've got kind of pulled up. you know, and I, and I'm reading, reading sort of some of it, you know, talking about, you know, garden spaces that are sort of inhabiting what appears to be, you know, both the footprint of the building, but also sort of the, the path of somebody who's enjoying the site. Mm-hmm. and I could imagine something like that. becoming the narrative for the sketch that I've kind of worked through. mine wasn't that sort of deliberate in this particular case, it didn't have as much of a narrative to it. it was more of a study in forms, and then layering of those forms, on top of one another. And then sort of imagining which pieces are kind of pulling through. the space and at the, honestly, at the very, very last moment, and I liked that sort of study and was sort of really kind of getting into it. but you know, at sort of the, the 10 minute mark for myself, I was like, wait a second. You know, there's something like, I haven't really established the ground plane properly. and this, this sort of idea. You know, as it's sort of sprawling itself across the page, you know, there's some, some concept, some, there's a couple spots and I'll kind of point to them. you know, there's a couple kind of locations, you know, where, you know, like kind of up in this area here and then, you know, kind of this area here. and then even, kind of down in this zone here where you, you kind of get the sense of the object kind of interacting with the landscape, you know, more directly almost kind of access points. and I'm saying that imagining that I'm at this point in the drawing where there are no vertical lines crisscrossing the page. and so I felt like I was getting there. I also kind of wanted to stop. and, and so what, what I did sort of move to was this idea of, okay, well if, if this was on kind of a terrain, similar to the. The images that you have up there as sort of the diagrammatic forms, you can see the contour lines. And so here, instead of establishing contour lines on an already frenetic form, it was, how can I establish contour lines that are. Relatively regularized just to give a sense of depth and scale. So, yeah, so some of those, those lines there that you're sort of hovering over and then Yeah, and you almost sort of, you can see where the lines get most intense. That's where you get this bridging, where you've just sort of circled, you know, the, the bridging of one mass to the other, because there's definitely sort of this. change in plane that I'm imagining is going on below that sketch. yeah, and, and especially in those areas as well, and then it was like, okay, you know, now it's becoming, you know, where plan and section are almost in my mind being played with, you know, visually because I know what the contour lines are actually doing. So it was okay. Can I take. the Prisma and sort of add in shadow, you know, at those areas where the building form really is sort of almost poised over, you know, these, these more intense, contours.

Kurt: 32:31

Yeah, and I highlighted, you know, the, i, I highlighted in my sketch or my circle, just some of the areas as you were talking, but also some of the more. Intriguing moments to me is where things kind of collapse together or get very, you know, get a, a tighter tension, I suppose, between masses and how it shifts. And, and it's sort of like you have, I mean, generally the form of the building is this long, a long rectangle, but then it's been interrupted by these. Trapezoidal, moments that are intersection intersecting with the, the larger mass as a whole, and then creating like sort of wings or br, you know, wings in the sense of a building, right? Like, so a wing going off this direction or that direction. And then all sort of breaking down the larger scale of the mass. And, similar to the building above, which by the way is a. Like an engineering center. So I'm assuming it's kinda like a research facility of some kind. Wh

Jamie: 33:34

where is it located?

Kurt: 33:35

well, let's see. I'll have to, let me go to the article. It is in Harrisburg, Pennsylvania. but it's re re Richie Ash Ash. and associates architects. Interesting. And, it's a big interest. That's a jst Harrisburg production engineering center. Ooh, here's the

Jamie: 33:59

big, big, big building. Oh, wow. Interesting. Yeah,

Kurt: 34:05

it's quite big. And the idea though, that you, you, you were getting at these sort of, these little garden coves or, you know, these, the, the, the form of their building sort of opens up the opportunity of like inserting more landscape, engaging with the sort of the interior. Functions of the building, which, you know, again, I guess I'm in, I, I was, I was just lamenting that I have to do some grading for my students, but But as I'm, you know, teaching class to, a second year architecture students and understand, you know, trying to explain like, how to manipulate form so it's not just one large volume, you know, with say, four walls in a roof, but if you have spaces that want to engage more,

Jamie: 34:56

for,

Kurt: 34:57

excuse me, the, you know, Intersect and engage with the landscape a little bit more, then it would be a fine direction to sort of break down the, the larger mass. Right. So it's kind of like basically thinking about like, I guess everyone's starting point is like a block of clay, and then how do you then sculpt it in a way to where it exposes more surface area? but in a refined manner and, and creates different views too, orientations and views as you move through through these spaces. And that's why I think your sketch, well, while it's not a building or maybe it didn't, it didn't start off as a building, has a really interesting formal. expression to where it can, I guess that's the, the, the, the beauty of just design in general or, or artistry is, is the concept of composition and, and what is the same things that make a, a great painting. Great. Would also apply, I think, in an architectural manner toward, you know, things like tension. we talk a lot about in school compression and release, you know, so small spaces to big spaces and moving, you know, creating movement and things like that. So,

Jamie: 36:09

well, I mean, and, and it's, you talk about composition, I think we'll probably pick that up in a, in another episode. I've got, a wonderful resource that I, I, I saw someone talking about online. and not surprisingly, not for the content that it was, but for what they, they learned from that resource and, and it was about composition. and, and that's I think something that, it's, it's sort of that concept of I'll know it when I see it, or I, I know what I like when I see. you know, those things that we hear from clients or, you know mm-hmm. from colleagues or whatever, and, you know, that's understandable. But at the same time, you know, how can you as a designer, an architect, a, an an artist, think through and interrogate that, you know, cuz you, cuz you know it when you see it as well. And so what, what is it that you're. you know, and to, to the point that you just made for, you know, design studio, the things that you're conveying to students, you know, how do you take those words and concepts and ideas and, and bring them to the fore, you know, in your own work and, and start to make decisions about it. You know, is this working? you know, why isn't it working? you know, not just cause I feel a certain thing, but, and I'm not talking about sort of the technical aspects of, you know, does this span actually work, you know, mathematically. Yeah, that's, that's a thing. I get that. But what's driving those projects? You know, not just the program of them, but sort of the instincts that, that we are bringing to the table. this kind of circles back slightly to what we were talking about the other day about AI is yeah, there's an element of humanity and the creative process that we're all still striving for. and so, you know, machine learning is great because, You know, just as we would say to a student, you know, you need to start to see things and, and, and draw on the experiences that you've had, and then add to those experiences through books, travel, movies, culture, you know, things that you haven't experienced yet, and realize those are gonna influence you too. Well, what do you think machine learning is? You know, it's like, you know, you know, adding more stuff to. to the wheel. but, I, I think that, you know, it's how do we start to interrogate that, you know, as artists, architects, designers, how do we get at our own process? you know, I think that that's a lot of what you and I like to talk about. And, and hopefully, you know, make, make a little bit of sense of it, for ourselves and, and for those who, who listen over a good cup of coffee.

Kurt: 39:09

Yeah, thanks. The, this, this is perfect tie in and, sorry, I'm getting a little bit of echo. Unfortunate, very distracted. But, yeah, I mean, I, I, I couldn't say it any better and I, and I can't really add to it right now, so I think all I'll just do is roll the outro So Thanks, Tammy.

Jamie: 39:31

Thanks

Coffee Sketch Podcast

108 - Horizontal and Vertical Citymaking

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