T.K. JUSTIN NG
FROM SKETCHBOOKS TO THE DRAFTING BOARD
Justin’s work blurs the line between Architecture and Illustration. He is always traveling and documenting the world on his sketchbook. His drawing style, although very playful, does an excellent job in documenting the atmosphere of big cities and architectural details.
For this interview, Justin talks about his travels, his process, inspirations and much more!
Common Ground imagines a new form of mixed-use development where very different programs are tied together through an activated central spine.
Justin, in a few words, tell us a little bit about yourself and your work.
I am a designer based in Toronto exploring the changing role of architecture and the future of cities through research, design and drawing. For the last few years, I have travelled around the world and worked at the offices of OMA in Rotterdam, Diamond Schmitt in Toronto and ALA Architects in Finland.
You study architecture and we will discuss your architectural world in further detail later on, but you have also made thousands of drawings of cities you have visited around the world. There seems to be a connection between your design work and your sketchbook but I am curious what role sketching plays in your understanding of architecture?
I do not consider sketching a separate endeavor from my identity as a designer. In fact, my sketchbooks are part of an on-going project in which I deepen my understanding of architecture through recording my travels. In the process of recreating what lies before my eyes onto paper, I become intimately acquainted with my subject, forcing me to observe, rather than gaze. At a time when screens are becoming the interface for much of life, being on-location exposes me to the nuances of light, sound and smell, qualities of architecture that cannot be experienced digitally.
How has being an architect influenced or helped your sketches?
I started sketching before going to architecture school, so my sketchbooks show my transformation from a passive observer to a designer eager to engage with the built environment. Many of my drawings are posted online so it is always interesting to hear what other people think has changed about how I sketch.
Arguably, what is more important than how knowledge of architecture has changed my sketches is what has remained consistent. Although many different modes of representing architecture has been introduced to me, I have stuck with drawing things I see in perspective. Unlike orthographic drawings that focus on objective reality, sketching en plein air embraces the human perspective along with emotions and empathy, enabling a humanist exploration of cities through spatial and visual richness.
“Sketching en plein air embraces the human perspective along with emotions and empathy”
You’ve captured many places around the world through your drawings. What has been your favorite place to draw and why?
Hong Kong filled my sketchbook with vibrancy and energy, Helsinki introduced me to pastel-coloured European/Russian architecture, Vancouver encouraged me to draw natural sceneries… I could go on. Frankly, I do not have a favourite. Each city offers something different and that drives my hunger for travelling. Or perhaps, I haven’t found my favorite place to draw.
What tools do you bring with you on site and how long does it take for you to finish one of your sketches?
My sketchbook, a pan of watercolours, a couple waterbrushes, a mechanical pencil and several fountain pens - all of this in a tote bag. I also carry around a small foldable stool to sit on while I draw.
The length of time it takes to finish each drawing varies. Before putting pen onto paper, I usually plan how long I want to stay at a location. Sometimes it is just ten minutes, sometimes I indulge and spend two hours - it really depends on the subject and my mood. The amount of detail I put into the drawing is a result of how much time I want to spend at a place - not the other way around.
How have you used your skills from sketching in your design work and what are the biggest challenges?
There is obviously a subconscious connection between my design work and my sketches. Through sketching, I have developed a keener eye and with that also a more acute awareness of spaces. In many ways, the act of sketching is also a relentless search for beauty and while my works are concerned with different facets of architecture - be it social, economical, cultural - the pursuit of some sort of beauty and spatial richness is cardinal.
At the same time, my hard skills from sketching are beginning to be used to represent my design work. One of the reasons why it took me so long to start painting my projects is the simple fact that with the advancement of technologies, architects no longer need to paint their buildings. Rendering engines do much of the work for you and done well, the resulting images are realistic and beautiful. For several years, I was worried that doing a watercolour painting of your project may appear superfluous and maybe even a cliche to some people.
More recently, I have come to realize that architectural representation is not just a result of the design process but very much an integral part of design. If design is the marriage of careful observation with rigorous interpretation and production, the way I comprehend the world should be reflected in the way in which I represent my design projects. While I am painting my design work, I am also deliberate to avoid any cliches associated with watercolour renderings. I prefer to use heavier colours and a more contemporary palette to avoid associations with pre-digital architectural drawings. At this point, it is obvious that it is important to me that my drawings are not nostalgic.
“Architectural representation is not just a result of the design process but very much an integral part of design.”
Tell me about a project you worked on that shows some of the experimentations you have gone through in integrating your art and your design work.
My most recent design project with a friend, Tristan Sito. We named it ‘On The Shoulders of Giants’ as a tribute to the ancient masters who have built Rome. Our proposal was for a cultural museum beside the Colosseum that responds to the city’s different incarnations, clashing and contorting pieces of the past and the present to generate new narratives.
Tristan was the perfect partner for designing a museum beside the Colosseum, he was fascinated by the arts and was constantly drawing the places we visited in Rome. This meant that we could explore new ways of representing our project together and in the end, we very much divided into ink and watercolour drawings. The aesthetics of hand drawn drawings enriched the romance that our project carried but also enabled better representations of light and allowed us to contort perspectives. Our main drawing, almost A0 in size, is an oblique drawing that warps into perspectives at the top and bottom.
Who or what influences you graphically and what advice has influenced you as an artist?
The internet has become a constant stream of inspirations and it can be difficult to pinpoint where my inspirations came from. However, there are a few people whose work I follow religiously. Jerome Ng creates extremely detailed compositions for his design projects at the Bartlett and his perspectives are very intriguing. Drawing Architecture Studio contorts their axonometric to reveal parts of the subject that would not be seen otherwise. I also enjoy the works of Peter Cook and Lebbeus Woods.
What advice would you give to young artists?
We live in an increasing pluralist world, where many ideologies can coexist in harmony. This makes it a golden age for design explorations and self-expression. While designers should all band together to tackle salient issues such as global warming and social inequality, we no longer need to conform to a style and we are free to explore our unique understanding of the world. So to answer your question, constantly reflect on what you believe in, then, just keep pushing your own limits and explore what you can do - relentlessly.
“Constantly reflect on what you believe in, then, just keep pushing your own limits and explore what you can do - relentlessly.”
Justin, thank you for taking the time to interview with Arch-Vizz and show us your beautiful illustrations.
You can find more about Justin's work at his website tkjustinng.com and his instagram @tkjustinng.
Interview & Images Courtesy: T.K. Justin Ng
Interviewer: Stefani Fachini