MATEO FERNANDEZ
FLYING KITES
Who said architectural drawings must consist of plans, sections and elevations only? Mateo Fernandez’s work opens an entire new portal for Architectural representation. Mateo’s drawings not only show the final design, but also show his design process through a series of layers, colors and line weights.
For this interview, Mateo will be sharing his work, ideas, inspirations and more!
Mateo, can you tell us a little bit about yourself?
I was born and raised in Quito, Ecuador, a beautiful city in the middle of the world. I am currently based in New York where I live and work. Five years ago when I first started studying architecture, I became obsessed with design; specifically, product design, art, architecture, urban design and architectural representation. This process has not only allowed me to find myself and my passion, but also to meet the most extraordinary people that have shaped the way I think and inspire me everyday.
What is your design process like? What inspires you?
My design process is a bit all over the place, a little like me. But my inspiration comes from everyday things l like, my subway ride to work, people I see, fleeting moments, street art, poetry and love. I would say I also gather a lot of inspiration from sci fi movies, machines, robots, dreams, magic and surrealism. My work is born in the intersection of these two, the mundane with the magical.
Your work seems to communicate art, engineering and architecture all living in harmony. Could you speak about all of these elements? How would you describe the elements you portray in your images?
I have always been an art aficionado. I love art, colors, composition and aesthetics. When I first started studying architecture I struggled a bit with how straight forward the drawings we as architects produce. Floorplan, elevation, section, they were beautiful drawings, but served one purpose: to convey an idea to the client, or professor. I always felt there was something missing. How can I incorporate art into this? How can they convey more than one meaning? Can they be complex and yet comprehensive? Do they have to be comprehensive? Why should they be comprehensive? I also thought to myself I can't be the only one having these thoughts, so I researched the early works of Zaha, Libeskind, Prix and realized they all started with abstractions before a project. Thus, I started to incorporate strong colors, and a lot of line weights, almost making the drawings a complete abstraction of a floor plan or a section. Soon after, I felt the drawings took on a life of their own. It was the combination of my early passion for art, my education as an architect, and the technicality that comes with it: engineering.
“I started to incorporate strong colors, and a lot of line weights, almost making the drawings a complete abstraction of a floor plan or a section. Soon after, I felt the drawings took on a life of their own. ”
Your drawings appear to have a very selective use of color, or the lack of it. What is the meaning of color in your work?
I think one of the most important parts of my work is color; I am just fascinated with how color affects our perception and mood. Color, when used right, makes you pause and gasp for air, and as an artist that is all we can strive for. I like to use two colors that work together. By doing that I can use one as a base color and whatever the other color is as a highlight, guiding the user's gaze throughout the composition. During architecture school it was essential for the colors to take the jury through the final project boards unconsciously. After a while, I started to become more self conscious about my use of color. I would use it to cover imperfections in the geometry and get away with it. Therefore, I decided to strip color all along and focus on the piece itself. Could it still be as powerful if you expose it as it is? I just felt it was honest... But who knows, it's something I'm still trying to figure out.
Could you show us or talk about the process of creating one of your images? What tools do you use?
Like I said before, my process is a bit all over the place and very inconsistent for every piece. Sometimes I just wake up with a dream or an idea and quickly hand sketch it. I then scan it and put it into Rhino or Maya, or whatever 3d modelling software I'm feeling the piece can be best represented by at that moment. However, most of the time, it starts with an idea that sticks for a while, followed by a hand representation of the idea as well as a 3d modeling component, and finished through post-production, hand paint, PSD or AI, whatever the piece wants but it varies from piece to piece. I also love overlaying the process, instead of losing the initial hand sketch like a lot of artists, it is very important for me to keep the sketch as a guiding principle, celebrating it in the end result as it adds another layer of depth to the narrative.
How important is the element of narrative in your work?
The most powerful designs include the most powerful storytelling. For me narrative and storytelling is what connects human beings and what keeps us alive in a sense. Film, literature, art, it is all about telling a story and connecting with other human beings on a more ethereal level. It is something I deeply strive for in my work. I try to use my work as therapy. I convey deeply emotional memories of my life, from childhood traumas to heartbreak to love stories. As a result, I hope that you can connect with me and my work and maybe feel a little bit of it too. Then again I am still trying to figure this out too.I know how important narrative is, but I also know I am not there yet. All I can hope is to be there one day and powerfully convey feelings by telling a story through my work.
“The most powerful designs include the most powerful storytelling.”
What do you believe is a key element in creating a good composition?
I believe the number one element for creating a good composition is research. Such as looking at successful compositions from artists you admire over and over again, as well as reading about them and what guides their compositions. By doing so you train your eye and thus, when creating a composition, it comes almost intuitively.
What advice has influenced you as an architect?
I'd say the advice that influenced me the most as a person and as an architect was “Choose a job you love and you'll never have to work a day in your life”. The only way for me to endure the long hours and stress that comes with architecture is passion, and passion and more passion.
What advice would you give to young designers?
Be a disruptor, there is no universal truth of how architecture, design or life should be done. Sure, there are precedents and some people will push you towards those precedents, but it's more fun when you deviate. So find your own way. This, I try to remind myself of every day.
Mateo, thank you for taking the time to interview with Arch-Vizz and talk about your beautiful work.
You can find more about Mateo's work on instagram @mateoferfer.
Interview & Images Courtesy: Mateo Fernandez
Interviewer: Stefani Fachini