These drawings were part of my final RMIT interior design project, “House Of God. House Of Fun”.
In my thesis, I drew a parallel between the construction of religious beliefs as a way of framing life experiences; and the design of theme park rides which framed emotional states, within the context of a meticulously engineered environment.
This resulted in the design of a synagogue built into the shell of an old Masonic temple in Brighton where a small reform congregation were practicing for want of a more appropriate space.
The design itself attempted to simultaneously cocoon the occupants within the pod of the main sanctuary, while opening up the building’s interior to the street, fostering a kind of religious transparency and inclusiveness that reflected the fundamental values of progressive Judaism. The sweeping arcs inspired by the physics of the rollercoaster’s journey.
While I went on to become incredibly adept at drafting complex architectural projects using digital tools like AutoCad, at this point everything was still hand drawn with ye olde clutch pencils and Rotring technical pens.
In the absence of an ‘undo’ button, any errors had to be surgically scraped back with a razor, taking care not to destroy the surface of the tracing paper beneath. If you roughed it up too much, any new linework would bleed uncontrollably, leeching into the surrounding area. This would guarantee the appearance of what’s known in contemporary parlance as *sadface*.
Regardless there was something deeply meditative about drawing complex achitectural drawings by hand.
And as if by divine intervention, I was one of two students in the year who cracked a High Distinction for their thesis document.
Client
Agency
Adrian Elton Design
Items
Interior Design Thesis Drawings
Role
Concept
Design
Technical Drawing
Credits
These drawings were part of my final RMIT interior design project, “House Of God. House Of Fun”.
In my thesis, I drew a parallel between the construction of religious beliefs as a way of framing life experiences; and the design of theme park rides which framed emotional states, within the context of a meticulously engineered environment.
This resulted in the design of a synagogue built into the shell of an old Masonic temple in Brighton where a small reform congregation were practicing for want of a more appropriate space.
The design itself attempted to simultaneously cocoon the occupants within the pod of the main sanctuary, while opening up the building’s interior to the street, fostering a kind of religious transparency and inclusiveness that reflected the fundamental values of progressive Judaism. The sweeping arcs inspired by the physics of the rollercoaster’s journey.
While I went on to become incredibly adept at drafting complex architectural projects using digital tools like AutoCad, at this point everything was still hand drawn with ye olde clutch pencils and Rotring technical pens.
In the absence of an ‘undo’ button, any errors had to be surgically scraped back with a razor, taking care not to destroy the surface of the tracing paper beneath. If you roughed it up too much, any new linework would bleed uncontrollably, leeching into the surrounding area. This would guarantee the appearance of what’s known in contemporary parlance as *sadface*.
Regardless there was something deeply meditative about drawing complex achitectural drawings by hand.
And as if by divine intervention, I was one of two students in the year who cracked a High Distinction for their thesis document.
