October 17, 2025 - Surjan Super School Weekly Newsletter - PART 1

SURJAN SUPER SCHOOL NEWSLETTER PART 1

WEEK OF OCTOBER 17, 2025

Title: “The Geometry of Imagination: From Tessellation to Monument”

1. The Language of the Hexagon

This week’s Surjan Super School collection traces a lineage of architectural imagination born from the hexagon and its kin — the cube, the triangle, the tetrahedron. Across drawings, models, and constructions, we witness geometry as a field of thought, a scaffold for building worlds rather than merely walls.

In the first series of images, tessellations unfold as living cartographies — hexagonal landscapes stitched across water, land, and sky. Each form seems both analytical and emotional: a city dissolving into diagrams, a coastline rebuilding itself through modular reflections. These works operate like dreams translated into isometric structure — a poetry of precision where drawing and thinking become indistinguishable.

2. From Line to Module

The following drawings reveal a choreography of geometry in motion. Watercolor stains merge with point-line networks — fragments of terrain and architecture appearing within crystalline frameworks. They are neither maps nor buildings, but a bridge between them — spatial propositions emerging from the act of measurement.

Hexagons become rivers, cubes become atmospheres, triangles become constellations. The process feels geological and computational at once — as if the earth were redrawing itself through a digital logic of repetition and mutation.

3. Assemblies in the Desert

Then, the imagery shifts into three dimensions — monumental assemblies in pale light. Here, human figures dressed in white, yellow, and pink uniforms collaborate with cranes to lift modular concrete pyramids and honeycomb structures into the air.

Each unit — triangular or hexagonal — is heavy, yet hovers with extraordinary clarity against the blue sky. This is the architecture of construction as performance: precision as choreography, weight as ritual. The desert becomes a blank canvas where modular utopias are rehearsed.

Color — subtle yet deliberate — performs a pedagogical role. Yellow becomes the hue of coordination, pink the hue of play, white the hue of collaboration. Together, they form a visual language of collective making — the Super School on Site.

4. Monumental Drawings as Pedagogy

Inside large halls, students gather before immense wall-mounted sections and axonometrics, drawings rising like façades of ideas. Red, blue, and cream surfaces define stacked and interlocking towers — playful hybrids of section and elevation.

The exhibition is not static: students become the scale figures in these pedagogical cities. They walk the line between drawing and building, between abstraction and inhabitation. The color-blocked towers — red bricks against sky-blue backdrops — recall an architectural comic strip come to life, where every frame is a spatial manifesto.

These installations make architectural thinking public again — returning drawing to the civic scale of mural, manifesto, and stage.

5. Studios of Color and Craft

We move next into intimate studios: artists and architects seated before meticulous compositions of geometric diagrams rendered in pure pigment — red, blue, yellow, and gold. Behind them, framed works align into pedagogical triptychs, each combining constructivist rigor with Bauhaus optimism.

Here, geometry becomes not a constraint but a form of meditation — the act of hand-drawing as a spiritual discipline. The workspace, organized in symmetries of color and composition, mirrors the mind of the maker — where art and architecture dissolve into a single process of making visible the invisible logic of form.

6. Process as Utopia

Finally, the last series presents speculative diagrams in vivid palettes of yellow and red. Architectural axonometrics hover on bright fields, as if printed upon the light of the future. Transparent hexagonal clouds float above mechanical landscapes — perhaps gardens, perhaps laboratories of imagination.

The color fields of red and yellow transform technical drawings into manifestos of emotion. They are lessons in how to make research feel. These are not cold diagrams but radiant infrastructures for thinking — each project a proposal for how geometry might grow trees, build communities, or dream of cities yet to come.

7. Toward a Hexagonal Future

In this week’s collection, Surjan Super School charts a full circle — from diagram to drawing, from assembly to exhibition, from the quiet act of geometry to the public act of teaching. The tessellation becomes both structure and story.

The hexagon — nature’s most efficient shape — becomes the school’s new metaphor for connection:

• between art and engineering,

• between the line and the landscape,

• between solitude and collaboration.

Geometry, here, is empathy rendered spatial — a system that learns, repeats, and adapts without hierarchy.

8. Closing Reflection

Every drawing in this collection is a rehearsal for building worlds differently. The tessellations remind us that structure can be soft, that pattern can hold emotion, and that color itself can be architecture.

The Surjan Super School continues to teach that the future of design is not only about form — it is about how forms feel when assembled by many hands.

“To draw is to build a world you can return to.”

— Surjan Super School, October 2025