Intuitive Sketching for Architects and Designers

1. Course Overview: Hi, everyone. I'm Moshe Katz and welcome to Intuitive sketching for Architecture. Have you ever felt stuck trying to sketch that perfect idea? In this course, we're throwing perfection out of the window and learning about something way more exciting sketching from your intuition. This is about letting go of the rules and discovering how your imagination can lead the way. No stress, no overthinking. Just you your pencil and the freedom to explore. Imagine sketching without worrying about making mistakes. Every line, every shape becomes an adventure revealing unexpected ideas and spaces you never thought before. That's the beauty of intuitive sketching. It's not just a technique. It's a way to tap into your creativity and see where it takes you. In this course, I'll guide you through practical exercises that I designed to help you relax your hand and your mind. It'll capture the mood and spirit of spaces, experiment with playful techniques, and learn how to let your ideas flow naturally onto the page. Together, we look at real life examples and discover how intuitive sketching can transform your spontaneous thoughts into designs full of character and emotion. I developed this approach by working with artists, psychologists, painters, and writers, and I crafted a process that's inspiring but also very practical. This isn't about theory, but it's rooted in real life practice. So if you're ready to have fun and find your creative flow, let's get started with intuitive sketching for architecture. Mm. A 2. Reality is just a recommendation: Hi, everyone, and welcome to the Intuitive Sketching course for Architects. I'm Osha Kat, and thank you very much for joining. This is lesson number one. Reality is just a recommendation. Now, before we start going to the core and the heart of this course, I would like to address some of most important key elements that help us go through the journey towards intuition. If we like to connect with our intuition and be able to act as a result of that, it is very important that we change our awareness. The awareness is the way we perceive our reality, the way we interpret it, and the way we act in our reality. Since we all live our everyday lives with the same habits and the same actions, for us to reach the intuitive level, it is important for us to do some changes to go beyond those limits. I call it reality is just a recommendation. So once we tune in into that belief that everything around us is just a recommendation, we can easily change it. It's just a flexible idea of different things that we perceive. But we can always think of it through a different angle and through a different perspective. So even though you see different fields in this course like art, sculpture, fashion, or any other field, ask yourself, how can this image or how can this field be connected to architecture? How is this architecture for me? Once you do that, you start to believe that everything is an inspiration or everything can be the starting point for the understanding of architectural space. So if you see a shoe, for example, think about it. How can this be a building? So instead of the leaves and vegetables, what if this was a building, a tower that is made of all of these green fields and facades and so on? So I stop looking at the reality in front of me as it is. I perceive it as a recommendation to look at it from the perspective of an architect and connect it to my field of expertise. I would like to read for you a passage from Reiner Rilke, a poet that influenced me a lot in my journey and my way of looking at architecture and design. He said, If your daily life seems poor, do not blame it. Blame yourself. Tell yourself that you are not poet enough to call forth its riches. For the creator, there is no poverty and no poor indifferent place. What that actually means for us as designers and architects that everything around us has a hidden beauty and that it is our responsibility as designers and visionaries and architects to see all of that beauty hidden behind everything around us. Which means we have to change our perspective, our awareness. A shoe is not a shoe anymore. We look for its hidden beauty, it's hidden secrets that we are supposed to discover as if we were poets. So normal people look at reality and they see the same things. But poets look at reality and they see a certain depth, they see a different beauty. They see some wonder that they would like to describe. So this is what I'm asking from you at this stage, with this course to take everything with a sense of recommendation. Now, when we speak about intuition, ask yourself, is your life a result of your intuitive voice or is it more a result of a reason? This is very important for us to analyze ourselves and understand how much are we connected to intuition? Is our life a problem that we need to solve, or do we consider our life as a wonder that we are discovering each day? So what is actually intuition? Intuition is not just about making art or being a designer. It's how you observe the world, how you interpret the world, and how you act as a result of that, how you act in the world. It happens through a connection to a non rational or non logical knowledge within you. It is your inner voice. It is a feeling that you sense so strongly and it has no reason whatsoever. It has nothing to do with intelligence. It has nothing to do with how smart you are. It is only connected to a higher knowledge that comes to you and you perceive it as truth. You feel it through the senses, you have the feelings within you. You have all the mechanisms to recognize when this voice is active, and we will learn about that. But it's all about finding new possibilities in your everyday life. So how do you activate that intuition in your everyday life? First of all, intuition comes as a result of observation. So look at things around you with a sense of surprise, wait to be surprised, try to figure out how you can look at everything through a different angle and understand some secret that lies underneath. Look at things through your sensibilities and sensitivities, through your feelings, through the energy that you feel from them. Don't consider them as a scientist that needs to analyze a problem and then solve it. Consider it as a poet that wants to see beyond the object in front of him. Perceive it with a sense of wonder, stay in tune and be open to be surprised. Then once you observe things, try to interpret them in a different way. Try to find the hidden meanings and signs beyond everything that you see. These signs express the feelings and the senses that work within you. Once you see a certain object, you try to figure out the signs behind that object and give it a certain expression. You extract the values of the things that you see. So for example, in this image, you see a giraffe and a man painting the stripes of the giraffe, but the stripes is the language of the animal itself. It is almost the defining character of the animal. So this language of those lines can be interpreted as its essence of being and then used as a starting point for a design. You start recognize those signs, you see them developing, changing, modifying, and then you interpret them in a different way than they were perceived as being just a texture on top of an animal's skin. It's as if you know what the sign is dreaming to be. So you give it a presence. You imagine what are those lines on top of the giraffe dreaming to be? And this is when they leave the animal and they start having a life of their own. And as a last thing, it's the actions. How do we act in our everyday life? What are the patterns of our actions? How do we use intuition to change those patterns? So once we are inspired and we see beyond the objects, this is when our actions become different than what we're used to. This is when intuition comes into play and changes and materializes everything that we know now into concrete things. Now, pay attention. Intuition is not always a big thing. Sometimes it's very small and delicate, and the actions are small, as well. The act that bases on intuition is an act of faith and trust. We trust ourselves. We trust that inner voice. We trust that higher knowledge that wants to tell something through us, and we take that role as being a bridge between dimensions. So let's do a very quick intuitive exercise just to warm up. Take a photo of something around you, an object, a situation, something on the floor, whatever you see on your walls, coffee cup, anything around you that you perceive and take a photo of it, a close up photo. As a second stage, try to look at it and put some signs like small signs on top of the cellar phone. You can draw with your finger. Just do some signs as if there were small people next to that object. This is when the object stops to be whatever it is, a coffee cup stops to be a coffee cup, and now it becomes a building or a space where small people are standing next to it. Try to add some small trees or some small elements that give it a realism feeling and now analyze the object through the eye of an architect and designer that sees a different structure and a different potential within that object. What building do you discover? What structure do you discover? What new potential do you see in that object that you haven't seen a moment ago? This awareness change, this sense of reality is just a recommendation. A coffee cup is just a coffee cup for recommendation. It could be an airplane, it could be a building, it could be a city, it could be anything that you would like it to be. So whatever you perceive is just a flexible fact that can be changed. And now let's use it as architects to see how can we extract a certain structure or a building out of it. Let's do this exercise and see what you discover. 3. Intuitive exercises: Hi, everyone. This is lesson number ten, Exercises. So in this lesson, I've prepared for you some of the most fun, interesting and beautiful exercises to connect with your intuition and to do that as a part of your sketch process for architecture. The intuitive exercises are very important. They help us connect with the right state of mind and bring out most of the potentials that we have stored within us. I'll go through it with you. You'll see some examples and some visuals. Feel free to take it and transform it or translate it into your own tools and ways of doing things. But I assure you that these exercises will open up a beautiful opportunity to connect with your intuition and bring amazing potentials out of you. The first exercise is the quick architectural sketches of one to 3 minutes. When you sketch models, there's usually the moment where you have these quick sketches, one or 2 minutes sketches for different positions. It's the same thing with architecture. Now you're limited in time. You have only one to 3 minutes to create something on paper, and you just do these quick sketches of architectural references, models, ideas, structures, whatever comes into your mind. So focus only on capturing the essence of the form. Just do an idea or a vision of a structure without overthinking what it is. It doesn't matter at this point. You're just bringing out whatever you can on paper. And you have sessions of one to 3 minutes. So time yourself and make sure that you're doing it very quickly and in the frame of that time. Second exercise is a beautiful collage that I'm doing a lot with my cell phone. So I'm downloading and saving different images that I feel are inspirational and very interesting. So what I do, I use some of the simple apps that I have on my phone, which create image collages. So I take two or three images. One image is an architectural space or structure, and another image comes from a different field altogether. In this case, it's pastry. So both of them are my biggest passions. I like to eat pastry, and I am in love with architecture. So I just put them together and they create the most amazing images that give a very interesting view on what architecture can be if you take it away from its own field and introduce another discipline into it. So two images become one new image that is created of both parts. So you try to figure out where are the connective points, what goes together? What can create a nice combination of structures and still maintain the idea of architecture. If you want to go one step forward, you can draw with your finger on top of the screen some people and trees and just give it a real feeling of a person standing inside that magnificent visionary structure. Maybe this way, you'll learn how pastry can change your architectural vision. The next exercise is the Sufi sketch. The Sufi sketch is based on the idea of a Sufi dancer. Usually these dancers, they try to maintain a certain sense of stability of a center, and through that center, they rotate. They twirl around themselves in a constant motion, 360 degrees going faster and faster and faster and faster around themselves. So this is what I ask from you to stand in the middle of a room and then go with the Sufi dance, the Sufi movement, and you start slowly to find your stable center. And then as you go, you become more fast and fast and fast until you really lose all your thoughts and minds, you are into the flow of movement. This is the energy that you're filled with, not what you think, but how you move. And then after a while, when you feel that it's already powerful within you, you stop at one moment, you don't move. You go down to your canvas either on the floor or on the wall, and then you draw the fastest sketches that come out of you out of that moment. Because in that moment where you don't think, whatever is left within you is the movement, is the strength of the energy that rises from within you. And this is the expression that we are looking for. You can do it at once in one swoop in one layer, but you can repeat that and do the sketch in two or three different movements and layers, one on top of the other. And every time you could use a different tool or a method to draw. Bobby. Another exercise is the word to sketch expression. So you clear your mind and write the first three words or feelings that come to you. You write them down next to you, and for each word, you find a representation or line, volume, a shape, something that represents that feeling that you wrote next to you. What I recommend is if you have three words, take the first letter and write the letter in big signs on top of the paper. And then the next word, take the first letter and write it next to it, as well. So you'll have this continuation of three letters, huge signs and symbols, and they stop being letters, they start being architectural structures. What if that is actually a building? From that moment, this is where you start developing it and continue sketching into the depth of that. It is just a trigger. It's just a first stage in your sketch. So you just create the conditions to continue into the understanding of the structure. The next exercise is the bubble fields exercise. So this is super fun. You just take your soap and water and put it together and just start creating your bubbles. The more bubbles you do, just try to be quick. You're blowing air and wind into the soap, and the bubbles come out. So once they come out, they create a field of different bubbles on your surface, if it's the floor or in the air or if it's on a chair or whatever it is. Try to take pictures of that field that is filled with bubbles. Try to recognize the structure of it. How do they connect to each other? What are the reflections? What is the geometry, the textures, everything that you can learn from a field of bubbles. And you take that as a starting point of your sketch to create your structure of bubbles. The next exercise is to sketch the transition between chaos and the void. So you pass from chaos to silence to a moment of a starting point of a bloom of a new space. So you have to interpret both concepts. The first one is the chaos. How do you see a sketch of a chaos, the movement of size and that order or dis order of things different layers one atop the other. How do you create a chaos? Out of that chaos, you should show the transition how that space and sketch slowly develops on the other side of the paper into silence and a bloom. So how do you interpret silence? What is a silent sketch for you? How does it look like? And the most important thing is the space in between, how does it look when you translate the chaos into silence? What happens in the middle in that in between spaces, how do you define them and show the transitions? This exercise shows us and allows us to work with abstract concepts, but it also shows our connection, our own connection to those words. And every creation comes from the dialogue between chaos and the silence. So for passing from this order to order, this is usually what artist and the creation is all about. So how is your interpretation of that? And again, whatever you sketch, try to put some people inside, some natural elements and try to figure out what kind of a space that you create. Next exercise is sketching cracks. So imagine you walk on the street and you see a huge crack in the pavement or you see a huge crack on the wall. Take a picture of that or take a transparent paper and put on top of the crack and make that a space in itself. The crack becomes a whole world in itself. And in there, you're supposed to find your secret architecture. How does it look like? When it starts from an existing crack, how does that world and architecture take shape from within? The next exercise is the smiling space. One of my favorite exercises. I came as a result of a research that I did with 200 children in Italy, when I designed the project for the House of Curiosity. It's an elementary school. And one of the most beautiful insights that I had from the students and the children is that they are very excited to come to a space that smiles to them. What I understood through it is the need of people to see spaces that show emotions. So imagine you have to create a structure or a space that gives a smile. How would it look like? So take a generic space or some old project that you have designed and transform it to be a space that smiles to children and people. Express it with very quick sketches, just so you feel if this is the right feeling and put some small figures in trees and just try to identify with the figures and see how does it feel standing next to the space? If it's not good enough, just smile harder. The next exercise is the candle exercise. It's one of the most powerful exercises if you light a candle and try to focus on the flame. Look at the flame and try to figure out the movement and the dance of the flame, try to figure out the different layers that the flame has. And I assure you it has many layers. It's not just one. It's not just one light. It has different lights. Try to look at it through different filters. Try to recognize all the layers, how they connect to each other. What is the closest one? What is the biggest one? What is the extension of it? How do they move and where do they try to examine a flame and make that the beginning of your sketch. Try to give it signs and lines and shapes and take that as a beginning point of a sketch that eventually will become an architectural structure. Ooh The next exercise is the sunset designer. So being a sunset lover as myself, I usually don't miss the daily sunset. I go every day to the beach and take that beautiful energy and transitions of the sky. So imagine you have the privilege to be the designer of the next sunset. You will be the one to decide what will be the tomorrow's picture in the sky. God gives you that possibility. Now you are sketching and designing that beautiful sunset for other people to look as inspiration. How does that look like? How is your sunset? Try to sketch it. It could be black and white, even, but try to give it as much visual expression as possible. And most of all, see that you feel that sunset within you. The next exercise is the secrets of mystery. So one of the most difficult and challenging things in architecture is create a space that speaks about mystery. How do you evoke mystery within people through architecture? And this is what we're going to do now. We're going to think of what mystery is to you. What does it mean to have a moment of mystery or an experience of mystery? What is it made of? What are the components or the principles of that moment of experience? Once you understand that, take those insights that you have about what mystery is to you. And bring it on as a sketch on paper. What is the space that will trigger the sense of mystery? Try to show it. The next exercise is the absurd is good. So usually we try to avoid being absurd and surreal in our everyday life because we're connected to realism so strongly. But in this sketch and in this exercise, I would want you to think a bit in an absurd way and surreal way. Imagine you're a cat. And as a cat, you're given the job of being the architects of all cats. And as an architect cat, you're now designing the house of cats. Where do they live? What are the components of that house? So you're taking all of your being and transform it as being a cat. Now think of you as an architect or designer and let yourself design and sketch the house of the cats. The next exercise is called born again. In this exercise, try to take a building or picture of a space that you see. Imagine the origin of that building, the moment of birth of that building, the DNA, the moment of start. We did this building start from? Almost the womb of the building. So it's a work of imagination. Try to take the final product in front of you and take it back to the moment where it was born before it created the whole complexity that it is today. Try to imagine the first space, the DNA, the sign, the first line, the first volume, the first thing that made this building become what it is. Now, you take that DNA and create your own evolution with it. So the end result would have to be different than what we see here in the image in front of us. Instead of a building that you have taken, we would have to see your interpretation of that DNA and how does that develop into a new building altogether? The next exercise is the nature sketch. So to do that, you would have to take some natural elements like stones, leaves, anything you find outside in nature, put them together in a composition of your choice on top of the canvas or paper. And these are the elements that are fixed on top of the paper. Now, your sketch is about the spaces in between, in between the stones, and between the leaves, everything that exists in the voids between those elements. So your sketch is the connecting spaces and connecting structures that bring all these elements together into one. The next exercise is the Jibris sketch. The Jibrish is a language which is invented. Nobody speaks that language. It's blabbering, basically like children who invent blah, la, blah, say things that make no sense. So imagine you have the privilege to invent your language. Whatever language it is, or try to speak a language that exists, but you don't know it. If you don't know Japanese, try to speak Japanese even if you don't understand anything. And then take these words and letters and phrases or anything that comes from that flow of speaking without sense and try to represent it on the paper. Either try to find the symbols of the words or the letters, try to find the rhythm of the phrases that you're saying, try to give an expression to that jibris coming out of you without any sense or any logic. Once that is done, look at it as structures. Take these signs, take the things that you've sketched, and then put some people inside and then try to figure out what kind of an architectural space came out of that imaginary language. It doesn't matter which technique you use or which tool everything goes. It's just about entering into that flow. The next exercise is from texture to architecture. In this exercise, we're going to look at different fabrics and threads as our language of design and examine them, analyze them, and bring them back to the most smallest and detailed components of them. Try to see the threads, try to see the stitches, the connecting points, the texture of it. This is your beginning stage of the sketch. You start with expressing fabric as the beginning point. So you can either sketch with fabrics and threads and create your sketch with those materials, but you can also interpret them into your sketch on paper. But after you learned the characteristics of those fabrics. The next sketch is the tree house of dream. So the tree is a symbol where people used to sit under a tree and feel the freedom of daydreaming. They could feel the intimacy of sitting below a tree and being wrapped from its leaves, beautiful colors and shades. So you are now designing a tree, a tree that allows you to daydream underneath. How does your tree look like? This house of thoughts and daydreams, how does it look like? And now sketch it, show it. What is the movement that the tree has? What is the structure of the tree? How does it extend? How does it look like when you create your own space of daydream? The next exercise is the finger sketching. So imagine you are now sketching an architectural space or any object, but you do that. Instead of brushes and pens or pencils, you do it with your fingers. So this is a fun, childish way of expressing architecture, but it's also connecting you more to your senses of touch and directly to the paper. So fill your hands with colors and see what kind of an architectural sketch comes out of it without the need to be precise or accurate. This time, you can work with different volumes and the smearing and the different stains that are evolving and expanding through your hands. Once you've done that, again, put some small figures next to it and see what kind of an architectural space you've created. The next sketch and exercise is the house of silence. So try to stay for 5 minutes in a total silence. Close your eyes, don't think of anything, and try to observe the silent motion within you. How does it extend within you? What are the components of silence within you? What does it make you feel? How do you change? What do you experience? What do you sense? Where do you sense it in your body? All of that is an insight that you can take afterwards once you're done after 5 minutes and bring it on paper. Try to sketch the space of silence. The next exercise is the lovely anarchist. So one of the conditions of creativity is the moment of freedom that we allow ourselves to be anarchist. What does it mean, actually, to be anarchist? Is the moment where the rules do not apply to you? So if you think that reality is just a recommendation and it's open for our imagination to change and do and experience and transform it as we wish to. So we basically have no rules to follow. Try to take all the rules that apply to your reality and change them. Invent your own rules and conditions. Imagine a world without gravity. Imagine a world without colors. Everything is black and white, or the world is just pink. Imagine a rule that you make of your reality which doesn't exist today. And you take it to the extreme and you invent your own reality rules. How does this look like in a sketch? And how does this architectural space look like when you design it without those rules? The next exercise is the shadow sketching. So choose shadows that you see in different objects or places in your house or outside. Take a transparent paper and walk around and see how the sun and the light comes in from different places or the lamp and which shades does it create of different objects. Put your paper on there and just sketch with a charcoal or some kind of a material that gives you extended stains and show the different shades on different layers on your paper. This is the basic starting point of your architectural sketch. You start with expressing shadows. This is then a trigger to bring out from those volumes and those shapes the different spaces that you recognize in them. And the last exercise is the postcard sketch. Imagine you're traveling to a city that doesn't exist. A city of your imagination. You invent it. You tell the story in your mind of that city. I'm going to this beautiful city. It has a name, and it has a beautiful skyline. It has beautiful buildings, whatever you imagine. Now you're sending a postcard from that place to your relatives. You are now sketching and designing that postcard with a view of that city. How does it look like? Imagine something that doesn't exist or combine things that you've seen together into one and try to be imaginative and leave it abstract. Don't go into details. Just bring out a feeling of a place with your sketch. Mmm. Mm. I hope you enjoyed learning with me so far. I hope it opened up some questions and curiosities. And now you can start experimenting and trying out what you've learned. Don't forget to dream with open eyes and see you in the next lesson. 4. Create your own visionary sketch: Hi, everyone, this is Lesson 28. Create your own visionary sketching. So what I do to create my own visionary sketch is to think of everything that inspires me, and I am very inspired by nature. So I ask nature almost as if it is a real creature that I communicate with. I ask it questions. So I usually ask what do you dream to be? Or if I ask an object, what is your home? So imagine you take a tree and you ask a tree. What is your home? What is the space that you need to feel at home? And then whatever the tree answers within me, this intuitive answer within me, this is the beginning of my architectural sketch and my intuitive sketch for this fantasy or visionary space. So imagine a house for a living stone. So what is the textures? What are the shapes that it will use? What if you are now the architect of stones, and they ask you to build a home for them? How would it look? Or house for the dancing tree, how would that look like? So imagine that starting to build up, and once you sketch it, you are slowly getting into all these beautiful, new expressions. These are your visionary sketches. So if you seek ideas from different fields, this is where your sketch comes to life. So if you look at nature, biology, astronomy, music, whatever field interests you, and then you interpret it into an architectural structure, this is how you can create new visionary sketches, but be careful not to imitate them. It's the process of translation and interpretation. So you take the general form and shape and the understanding of how it evolves as a feather, and then you take that delicate structure and work with it, interpret it, change it in some ways. So the end result is your own vision of a feather, of an architectural feather. The dancing architecture, imagine and think of a space or a building as a performer. Imagine a building could dance for you. What kind of harmonious moves would it do? Ask it. Building, how would you move if you were a dancer? What is your choreography? What is the energy, the rhythm, the fluidity that you would like to do? And then sketch it. Try to be inspired by that transforming objects into living things and dancing things and see what kind of a dance come out of it, and what can you use it for as an architectural element. Imagine a natural object like a tree or a stone. So take a stone and imagine you are moving it now. You are transforming it now by movement. So if you take a stone and you twist it, you take all the layers of this concentrated stone. And each layer now of this stone is almost cut and creating its own movement of twirl and moving around itself, how would it then look like? What kind of a change of space and form would it get if you move it? So let's see what the stone can become, what kind of a building can come out of it. Hi. I hope you enjoyed the lesson so far. As you take a break and relax with a cup of coffee or tea, I would like to share with you some insights from my book into creativity that I think would be useful for you in your creative journey. Any creation is directly influenced by intuition, which helps the creator unveil the precious knowledge or research direction he needs to take to create something new and original. Intuition is our radio device connected to the universe, the world, nature, the people, and everything surrounding us. Intuition is the knowledge that is not logical. It can be perceived through tangible sensations. Instead, it is the wisdom that comes to us through our senses. For most of our lives, we learned not to listen to our inner voice, not to use it or trust our intuition. We were taught to trust our rational thoughts only. The ones that prove and analyze the reality and the logical making of our decisions, things we can control. That's why people detach slowly since their childhood from the deepest, most intimate connection with themselves and their surroundings. That's why it is crucial to find our inner voice and the connection to the universe as creators. So we can find authenticity in our work to feel that we can create from within ourselves as artists. Intuition starts transmitting information like a radio station when you release the need to control situations with your logical thinking. Your inner voice as a skilled DJ brings the message through you until everything is clear. That flow of knowledge can last a long time or some hours or sometimes maybe just a few minutes or seconds, as long as we maintain the balance and don't fall into logical thinking. The flow in this critical stage will continue if you can surrender, trust it, and observe and document everything that comes to you without judgment or rational processing. Just be in the moment and enjoy the discoveries. 5. Inspirations - sketch to AI: Everyone. This is lesson number 31, inspirations from sketch to AI. In this lesson, I'm going to show you some interesting inspirations that I had and how I transform them into beautiful architectural spaces through the usage of AI. I'm not going to focus on the AI program, but I will focus on the process that led me from intuition to inspiration to the final shape and form of the architecture. I started with a dynamic inspiration, a dynamic structure that I looked at a moment of explosion, a moment that is for me personally, one of the most beautiful, frozen moments that I could look at for hours. The moment that water drops fall into the water and create these new beautiful dynamic shapes and structures in the water and the ripple structures, the explosion, the depth that is created through them. So I took that as my inspiration. I looked at the main lines that are building my image of inspiration. And we see the ripples. We have the depth in the center. We have the different drops that are exploding into the different directions and have all these different sizes. I looked at it and created a very first conceptual sketch with Power Point, as you see here in this example, just playing with some very basic shapes and put some people in scale and some trees in scale just to feel what kind of an architectural space has come out of it and then transformed that into a building and an architectural complex space. In this example here, let's look at the flowing water, a beautiful image and a beautiful moment in nature where we have these small fountains and rivers that are flowing freely in between natural elements as stones and creating these beautiful shapes and transforming the rocks and the stones to be something else because the stones itself is a strong material, but when the water comes with a certain current, it continues changing the form of the stones. So we have the interrelations between the current of the water and the stone that is still changing its shape. I took that and created a very quick sketch of those lines and elements and started thinking of what kind of an architecture comes out of that. So instead of the stones, I imagine these stone pools. So each stone is this water still water element that allows people to come and swim. So it's the static element in architecture, and around that, you can do all these dynamic things as well. We have the dynamic structures which moves continuously in between the water. And this is how I came up with the hotel idea and concept. I'm also inspired sometimes by the human body. I like to look at our own structure, our hand, our legs, our eyes. I am fascinated by the human eye. It is such a beautiful shape and form. As you see here, I took an image and started playing with a sketch, trying to understand what is the main shape and form that we see in our eyes. So we have the main structure in the middle. But then slowly around that, things are expanding and developing into a visual system of things that are following almost a beautiful motion. So that sketch turned out to be a very fluid space and a circular rhythmical architecture that is almost an inspiring city of light and gold and expressing the symbols of the soul. So in the process of taking a sketch and turning it into a AI, I always use my intuition to understand what are the changes and what are the things that I like to develop. So if I try to do one image, as you see here on the top, my intuition told me to take that heart shaped building and create a whole complex of heart shaped buildings around it. The intuition was to expand and to express the heart structure more vividly and more extensively. The intuition changed my architectural design and forms that I created initially now are becoming more complex forms. I do feel how strongly the intuition changes my decisions, my logical decisions. So this is how I worked with AI. I hope you had fun and enjoy the insights and see you in the next lesson. As we reach the end of this course, I want to take a moment to share something personal. I truly believe we are all connected in this beautiful journey of learning and growth. Even though I couldn't meet you in person, I hope that through my words, my energy, and the knowledge I've shared, you felt the care and intention I've poured into this course. Everything I envisioned while creating this, every tool, every insight, every bit of inspiration was meant for you to help you grow in your journey of architecture and creativity. Even though we are not together in the same room, I hope you felt it. I hope it reached you with the love and care that went into it. My greatest wish is that this course gave you what you were looking for, whether it was knowledge, inspiration or even just a spark to ignite something new within you. As we part away for now, I want to thank you for being here for showing up for yourself and for trusting me to guide you. So this is not the end. I hope you'll join me on a new adventure in one of the other courses on my platform. I've put a lot of effort to create courses that are different and that will give you all the things that I wish I got when I was a student and was craving for inspiration and knowledge. Maybe you will have some questions or want to say hi. Please do so through my website or my email that you see on the screen. Keep dreaming, keep creating and see you soon.