From Painting to Architecture

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From Painting to Architecture

Hazem Talaat



ODS is a concept tower inspired by the work of the French artist Olivier De Sagazan.

Olivier De Sagazan builds layers of clay and paint onto his own face and body to transform, disfigure and take apart his own figure, revealing an animalistic human who is seeking to break away from the physical world. At once disquieting and deeply moving, this new body of work collapses the boundaries between the physical, intellectual, spiritual and animalistic senses.


ODS examines the anxiety, grotesquely, brutality yet the aesthetically of an animalistic face of a human as a question for study and research, to find new architectural opinion in the art of building reconstruction.



Who influences you graphically?

Before speaking about developing my own style lately, spending my time on experimenting in Architecture, chasing Art and trying to find an exchange language between both of them, I came across many interesting names from different mediums that had an impact on me. From the architects, without a doubt, I would consider Lebbeus Woods as my number one influence, he was so raw and knew how to convey his visions with the right tools, with unusual drawings that is so complex yet so delicate. The architect Bryan Cantley I love, specially, the way he expresses complicated Geometries in layering technique.

As for artists, I enjoy the work of modern painters like Agostino Arrivabene especially the details in his paintings; Nicola Samori, the destruction technique he uses and the way he positions his topic in on the painting canvas; Denis Forkas Kostromitin, Dan Seagrave and before them the legendary H.R Giger.

In movies, the camera work of directors like Nicolas Winding Refn especially his neon lights, also the character positioning in Terrance Malick movies. I am also into post-apocalyptic movies in general, the body art of Wes Borland, the guitarist of Limp Bizkit, and of course never forget Olivier De Sagazan the performer, painter, sculptor and photographer.

What dictated the graphic language for the proposal?

I would consider this my first attempt in allowing for a piece of art to lead the representation of an architectural drawing, I was eager to emphasize the obscure atmosphere behind Olivier’s work and show it by using a similar background than the one he uses in his works. From an architectural perspective I used materials that have a similar ‘tune’ to his aesthetic language, X-ray layers of some architectural and structural elements to create what looks like erased lines, traces and dirt using architectural hatches layered over the textures to give depth to the ODS tower.


How and to what extent did the work of Olivier influence the proposal?

The proposal shares a lot of what I experiment in architecture nowadays with topics related to Architecture and post-war, destruction, reconstruction, parasite structures. Getting influenced by beasty body structures. The ODS tower investigates the art of reconstruction specifically by transmitting the features of the animalistic face of Olivier into brutal architecture building, with an almost explicit three-dimensional interpretation of the painting.

As for the artistic approach, I was interested in the hybrid practice of Olivier’s work which integrates performance in front of the steel background, building layers of paint and clay over his body skin, the various static photo shots, the retouching and the repainting until reaching the result. I considered this complex process while working on building my graphic layers.

What defined the format?

Unlike of the format that I follow now in presenting my work, I wanted to follow the exact same format of Oliver’s piece of work, which is central, by positioning the ODS tower in the middle to put all the focus on it, and not drift away from the atmosphere that it is created by the image, also using the same shape of the canvas especially in the main perspective shot as an explicit interpretation of the image, then i had more freedom in resizing according to the elevations and the close-up shots, yet still central.


What inspired you to develop a tower as an ode to Olivier?

I believe that architecture is a crossroad of many of disciplines, and I like politics, art, and before them the human being themselves.  After I got introduced to Olivier’s work and working on ODS Tower, I was captivated by the provocative performance of transforming, disfiguring and eliminating his original figure, revealing the animalistic human being, and wanted to convey these feelings into post-architectural reconstructed tower with an ambiguous space that could provoke the architecture audience as well.


To what extent do you see your proposal as a three-dimensional interpretation of the artists paintings?

Unlike modelling by digital equations or scripting methods that could help achieving more accurate and resembling more three dimensional result, I chose to work with certain tools that helps me create low poly surfaces which is done by manual modelling, giving the feel of sculpturing giving a room for the flaws of human error to appear and to maintain the aesthetically brutal lines.



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