The Pink Horizon

pink horizonTHE

Drawing ResearchRepresentation / Fall 2014

Raimund Abraham

ON ARCHITECTURE by Raimund Abraham

A drawing for me is a “model” that oscillates between the idea and the physical or built reality of architecture. It is not a step towards this reality and in this respect it is autonomous. However, for me there must be the anticipation of the physical reality and its commemoration of the idea. In this sense, an architectural drawing can never be rendered.

On the contrary, it has to be constructed so that it reveals the idea of the syntactic form through the medium of lines. In much the same way it has to anticipate the sensuality of the material through the layering of colour.

More specifically, architecture can only be understood as a polarity between geometric and physiological space or as a collision between the ideal and matter, and while the ideal represents the notion of infinity or, let us say, the eternal, matter can be regarded as the symbolic representation of the body - its presence and its absence.

To put it in other words, while man’s conceptual powers aspire to the infinite, his body is essentially fragile, temporal, a corpus which will be laid waste, like material itself, by the unremitting action of time. If there remains any hope for recreating the iconic in the modern world, then surely this will only come from reinterpretation of the archetypal existence of man; that is to say, new icons cannot possibly be established on the basis of motifs drawn or transposed from the lost historical epochs.

New icons will either come from recognition of our intrisic ontological limits or they will not arise at all.

1933 - 2010Austria

+ Raimund Abraham

10 Houses, 1970 / The house is the junction of dreams illusions death birth mutations feasts contemplation rituals conflicts confrontations destruction execution love hate fury memory desires wounds satisfaction...

9 Houses Triptych, 1975 / House with Curtains, House with Flower Walls, House with Two Horizons

+ Raimund Abraham

House for the Sun / One of the Imaginary Houses

+ Raimund Abraham

Archigram

In late 1960, a loose group of architects of Britain’s Architectural Association in London turned away from conventional architecture to propose drawings inspired by pop art and psychedelia that challenged the means of conventional architecture. The main British magazines did not publish student work at the time. Archigram was reacting to this as well as the general sterility of the scene. The title came from a notion of a more urgent and simple item than a journal, like a “telegram,” hence “archi(tecture)-gram.” Archigram’s sense of fun takes its place beside the other cultural agitants of the 1960s, originating attitudes and techniques that became standard

for architects rethinking social space and building technology. The Archigram style was assembled from the Apollo missions, constructivism, biology, manufacturing, electronics, and popular culture, inspiring an architectural movement of High Tech that influenced postmodern and deconstructivist trends of the late twentieth century.

By this time Peter Cook, David Greene, and Mike Webb, in making a broadsheet, had started a new Group. Thus begins Archigram, a chronicle of the work of a group of young British architects that became the most influential architecture movement of the 1960s, as told by the members themselves. It includes material published in early issues of their journal, as well as numerous texts, poems, comics, photo collages, drawings, and fantastical architecture projects. Work presented includes Instant City, pod living, the Features Monte Carlo entertainment center, Blow-out Village, and the Cushicle personalized enclosure. Archigram’s influence continues to influence many of today’s architects; Lebbeus Woods, Neil Denari, Takasaki Masaharu, and Morphosis to name a few. Although most Archigram projects were at the limits of possibility and remained unbuilt, the six architects at the center of the movement, Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb, became a focal point for the architectural avant-garde, because they redefined the purpose of architecture.

Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, & Michael Webb1960 - PresentBritish

+ Archigram

Plug-in City, 1964 / A new approach to urbanism, reversing traditional perceptions of infrastructure’s role in the city.

Walking City / A suggestion for a nomadic way of life and a liberation from the modernist answer of suburbia.

+ Archigram

Plug-in City, 1964 / An alternative to megastructural precedents, perhaps derived from the building boom that followed the reconstruction of Europe.

+ Archigram

Archizoom Associati

Archizoom Associati, also known as just Archizoom, is a design studio founded in 1966. The group was founded by architects and designers Andrea Branzi, Gilverto Correti, Paolo Deganello and Massimo Morrozzi.

In December 1966 they organized there first exhibition: “Superarchittettura” with another group, Superstudio. The exhibition featured prototypes of architecture known for its anti-design approach. During the next year they participated

in other exhibitions: Superarchitettura 2 and Modena.

The next years, Archizoom focused on the project “No-Stop City”, a modernist vision of a city of the future. A city without boundaries, artificially lit and air conditioned. No Stop city was composed of a highly artificial environment made up of multifunctional furniture and clothing. For this projects, they created a very complete series of renderings, drawings and plans.

Archizoom 1966-1974Italian

+ Archizoom Associati

No-Stop-City / Interior view of “No-Stop City”

No-Stop-City / A floor plan of “No-Stop City”


No-Stop-City / A rendering of the project from a birds view.


Atelier Olschinsky

Vienna-based artists Peter Olschinsky and Verena Weissco-founded a creative studio in 2002 and have sinceproduced numerous projects that combine photography,illustration and graphic design. In the broad range ofprojects, there are a few common themes: construction

and deconstruction, geometric patterns, intricate detail,and cities.Several collections depict the composition of nonspecificcities, essentially revealing a blueprint of their physical anatomy. Each series captures obscure details of the cityand focuses on its structural, material composition asoppose to its inhabitants. This uncovers something veryunique and characteristic, a personality almost, of the cityitself.

Selected Drawings:1. Organic II2. Pixel City3. City Wall

Related Links:http://www.olschinsky.at/http://dvrcty.com/ATELIER-OLSCHINSKY

Atelier Olschinsky2002 - PresentA small creative studio based in Vienna, Austria

+ Atelier Olschinsky

Organic II / Illustration Series.

Pixel City / Illustration series.


City Wall / Exhibition at Tina Miyake Showroom, Düsseldorf / Germany. Wall paper size 5 x 3 m.


Bolles + Wilson

Bolles+Wilson is an architecture firm established by Julia Bolles and Peter Wilson, both Architectural Association (AA) graduates. Established in London, the firm moved to Münster after winning the design competition for the

Münster City Library.[1] Other major works include the Luxor Theatre in Rotterdam (2001) and the Helmond City Library (2010).

BOLLES+WILSON are internationally known for a consistently high architectural quality in a wide range of projects, each an individual solution developed with careful consideration to the cultural and the urbanistic context, which it must enhance.

Julia B. Bolles-Willson was born in 1948 in Münster and graduated at the Karlsruhe Institute of Technology in 1976. Since 1996 she has been professor for architectural design at the Fachhochschule Münster. Peter L. Wilson was born in 1950 in Melbourne and studied at the University of Melbourne from 1969 to 1971 prior to moving to the AA where he graduated in 1974.[3] In 2013 he was awarded the Australian Institute of Architects Gold Medal.

Architecture Firm Established by Julia Bolles and Peter WilsonLondon

+ Bolles + Wilson

AA Files 20 Autumn 1990 / A Mechanical Mask, B Necessary Equipment, C The Glove, D Tower of Winds

Invisible / Drawing of a project

+ Bolles + Wilson

ClippedOnIssuu / from El Croquis 067 Bolles Wilson

+ Bolles + Wilson

Brodsky + Utkin

Both Brodsky’s and Utkin’s families have long wbeen involved with the visual arts. Brodsky’s father was a well-known architect, graphic artist, and book illustrator; Utkin’s grandparents, parents, aunts, uncles, and wife are all architects. The two students met in 1972 during their first year at the Moscow Institute of Architecture; they collaborated closely over the following semesters and produced a joint diploma project.

At the time of their graduation international competitions

sponsored by foreign magazines and corporations provided a critical creative outlet for those who sought to carry on in architecture despite the exasperating professional conditions of the time.

As Brodsky and Utkin, together with a dozen or so other friends began to produce such projects in evenings and weekends over the next few years, the group assumed the title of “Paper Architects” - a deogatory epithet applied to avant-garde architects still producing radical work after the Socialist Realist clampdown in the thirties.

Brodsky and Utkin’s critique of modern mass society focusses on the alienation experienced by the individual atom in the mass, the little guy trod upon or at best ignored and eventually coming to believe in his own insignificance. It is the universality and timelessness of their offering that allow their works to bridge national. cultural, and linguistic barriers and that render their messages as strikingly transparent as the glass sheets of the Crystal Palace that also keeps its distance from the pressing affairs of an all-too-real modern city.

Extracts From Lois E. Nesbitt: Brodsky & Utkin, The Complete Works

1955 - PresentRussia

+ Brodsky + Utkin

Dollhouse / Architectural Design Competition, London, United Kingdom, 1982

Crystal Palace / Central Glass Co. Competition, Japan Architect, Tokyo, Japan, 1982

+ Brodsky + Utkin

Wandering Turtle / A Style for the Year 2001, Architecture and Urbanism Competition, Tokyo, Japan, 1984

+ Brodsky + Utkin

Pascal Bronner

Pascal Bronner was born in Malaysia, grew up in Germany and moved to UK in 2000. In London, he studied fine art at Byam Shaw School of Art (Central St. Martins), and later architecture at the Bartlett School of Architecture, UCL where he completed with 1st Class Honours and Distinction for his Part 1 undergraduate and Part 2 graduate studies respectively.

Pascal was twice the RIBA President’s Student Medal nominee – the Bronze Medal (Part 1, 2006) and the Silver Medal (Part 2, 2009); and was awarded the RIBA Bronze Medal Commendation (2006) and the Serjeant Award for Excellence in Drawing at Part 2 (2009). He was also

a recipient of the Fitzroy Robinson Drawing Prize (2006), Leverhulme Bursary (2008, 2009), Sir Banister Fletcher Medal for highest marks for his Part 2 graduate studies at the Bartlett in 2009 and was nominated for the Hamiltons Prize for Design Process (2009). He was best in category for ‘International Prize’ in the Ken Roberts Memorial Delineation Competition (2010).

Pascal has previously exhibited at the Architecture Biennial Beijing (“Emerging Talents, Emerging Technologies”, 2006), the Royal Academy Summer Exhibition (2008, 2010), Southern California Institute of Architecture, LA (2010), Milk and Sugar Gallery - Liverpool (2010), Dallas Center for Architecture (2010) and the AIA National headquarters in Washington DC (2011).

Since graduating he has worked for a variety of award winning practices including AHMM, Hawkins\Brown Architects and Studio 8 Architects. During his time at Studio 8 Pascal worked on numerous award-winning projects such as GuangMing SmartCity in China and ‘Virtually Venice’, part of the 2004 Venice Biennale. Pascal teaches at The Bartlett - UCL, University of Greenwich - School of Architecture Design and Construction and The CASS.

Pascal Bronner and Thomas Hillier now work as FleaFollyArchitects

FleaFolly Architects2006-PresentBritish

+ Pascal Bronner

The Symphonic Cannon / RIBA President’s Medal Award Project depicting a stage for opera and theatre for the people of Malta

The Folding Studio / Desktop and mobile architecture

+ Pascal Bronner

Portable Archaeological Unit / Working drawings into a sketchbook

+ Pascal Bronner

World Archive/ inspired by Brodsky and Utkin’s ‘Columbarium Habitabile’ - storytelling through drawings

+ Pascal Bronner

New Sumidagawa, Tokyo - City in the River Valley/ Another one of Bronner’s methods of depicting a larger story through drawings and photomontage

+ Pascal Bronner

Cedric Price

As a working architect, he was associated with Maxwell Fry and Denys Lasdun before he started his own practice in 1960, working with The Earl of Snowdon and Frank Newby on the design of the Aviary at London Zoo (1961). He later also worked with Buckminster Fuller on the Claverton Dome.

One of his more famous projects was the Fun Palace (1961), developed in association with theatrical director

Cedric Price1934-2003England

Joan Littlewood. Although it was never built, its flexible space influenced other architects, notably Richard (now Lord) Rogers and Renzo Piano whose Centre Georges Pompidou in Paris extended many of Price’s ideas - some of which Price used on a more modest scale in the Inter-Action Centre at Kentish Town, London (1971).

Having conceived the idea of using architecture and education as a way to drive economic redevelopment - notably in the north Staffordshire Potteries area (the ‘Thinkbelt’ project) - he continued to contribute to planning debates. In 1969, with planner Sir Peter Hall and the editor of New Society magazine Paul Barker, he published Non-plan, a work challenging planning orthodoxy.

In 1984 Price proposed the redevelopment of London’s South Bank, and foresaw the London Eye by suggesting that a giant Ferris wheel should be constructed by the River Thames.

Although he built very little, his lateral approach to architecture and to time-based urban interventions, has ensured that his work has an enduring influence on contemporary architects and artists, from Richard Rogers and Rem Koolhaas, to Rachel Whiteread.

+ Cedric Price

FUN PALACE / The Fun Palace was one of his most influential projects and inspired Richard Rogers and Renzo Piano’s early 1970s project, Centre Georges Pompidou in Paris.

FUN PALACE / Initiated with Joan Littlewood, the theatre director and founder of the innovative Theatre Workshop in east London, the idea was to build a ‘laboratory of fun’ with facilities for dancing, music, drama and fireworks

+ Cedric Price

POTTERIES THINKBELT / Proposal to take the whole rusting and decaying industrial infrastructure of the Potteries, and turn it into a kind of High-Tech think-tank. It was to be a new kind of university, called the Potteries Thinkbelt. It was not a “building”, but a kind of circuit, or network, with mobile classrooms and laboratories using the existing rail lines to move from place to place, from housing to library to factory to computer center.

+ Cedric Price

POTTERY THINK BELT / Plan of Desire Lines-Physical and Mental Exchange

+ Cedric Price

Nat Chard

Drawing Uncertainty

The architectural program makes sweeping generalisations about how we inhabit architecture. Nat will show a series of drawing instruments that speculate about ways of discussing the indeterminate in architecture. The talk will

include recent work on paradoxical shadows and some new drawing instruments that are in progress.

Nat Chard is the Professor of Architecture at the University of Brighton. Previously he was a full professor at the University of Manitoba where he was head and graduate chair between 2005 and 2010 after five years as Professor of Visual Communication and leader of research Institute Four at the Royal Danish Academy in Copenhagen. Before that he taught for a decade at the Bartlett and also taught at North and East London Universities. He is a registered architect in the UK. With Perry Kulper (University of Michigan) he recently won the competition for Pamphlet Architecture No. 34.

When taking photographs a single clear light bulb is used on the same track. A left eye image is taken and then the camera shifted 65mm to the right for a series of right eye shots. For each of these the light is moved along the track progressively, so that when they are each combined with the left eye picture, they place the shadow at different depths.

Bartlett School of Architecture, University College LondonUnkown ageLondon

+ Nat Chard

Drawing Instrument Five/ Set up the direct view in 2011

Idaho and Washington Field Patterns/ Aerial view in 2014

+ Nat Chard

Test drawing/ Study the potential of anamorphic projection as a way of spatialising the picture plane, 1999

+ Nat Chard

Peter Cook

Peter Cook is an architect, architectural writer and lecturer. He is most well known for being one of the founders of Archigram. In 2007, he was knighted by the Queen of England for his services to both teaching and architecture. As a member of Archigram, he also received the Royal Gold Medal from the Royal Institute of British Architects in 2004.

Cook began studying architecture at Bournemouth College of Art until 1958 and then completed his education at the

Architectural Association School of Architecture in 1960. One of his most significant pieces of work, Plug-In City, completed while working with Archigram, continues to play a role in modern architectural dialogue. He currently teaches at the University College London’s Bartlett School of Architecture.

He currently is practicing with Gavin Robotham as part of CRAB Studio (Cook Robotham Architectural Bureau).

Archigram, CRAB Studio1936-PresentBritish

+ Peter Cook

Way Out West 1988 / Via Crab Studio http://www.crab-studio.com/peter-cook-s-drawings.html.

Plug in City 1964 /ArchDaily

+ Peter Cook

Towers/ CRAB Studio

+ Peter Cook

Pinto Master Plan / CRAB Studio

+ Peter Cook

Coop Himmelblau

Coop Himmelb(l)au is a cooperative architectural design firm primarily located in Vienna, Austria and which now also maintains offices in Los Angeles, United States and Guadalajara, Mexico.

The office has been trying to change the usual design paradigm since its foundation. The office tries to develop a radical design truth a realistic approach. Their Ideal is to work with complex shapes coming out of a complex process in which the architects mix different mediums such as models, 3-d modeling, parametric tools, sketches and drawings in order to create an unexpected design. The philosophy of the office can be summarised with their 1980s manifesto “Architecture must burn”: “We want architecture that has more to offer. Architecture that bleeds, exhausts, that turns and even breaks, as far as I am concerned. Architecture that glows, that stabs, that tears and rips when stretched. Architecture must be precipitous, fiery, smooth, hard, angular, brutal, round, tender, colourful, obscene, randy, dreamy, en-nearing, distancing, wet, dry and heart-stopping. Dead or alive. If it is cold, then cold as a block of ice. If it is hot, then as hot as a tongue of flame. Architecture must burn!”

Architectural Design Firm Founded by Wolf Prix, Helmut Swiczinsky and Michael HolzerEst. 1968Vienna

+ Coop Himmelblau

Blaze Tent / Site Analysis

Blaze Tent / Ritual (build, discard, &burn)

+ Coop Himmelblau

The Heart of a City / Melun Sénart

+ Coop Himmelblau

Diller + Scofidio

Elizabeth Diller and husband, Ricardo Scofidio, created an alternative form of architecture practice that unites design, performance and electronic media with cultural and architectural theory and criticism.

Elizabeth Diller attended the Cooper Union School of Art and received a bachelor of architecture degree in 1979. She then taught at the Cooper Union and has been associate professor of architecture at Princeton since 1990.

Ricardo Scofidio also studied at the Cooper School of Art and in 1960 received a bachelor degree in architecture from Columbia University. He has been a professor of architecture at the Cooper Union School since 1965.

The firm of Diller&Scofidio was formed in 1979. Since then they have received a number of grants and awards including the Macarthur fellows programas well as the Macdermott award for creative achievementfrom MIT and the Tiffany award for emerging artists.

Recent projects include’Interclone Hotel’, an installation for the istanbul biennial; ‘The American Lawn: surface of everyday life,’an exhibition at the canadian centre for architecture; ‘Bad Press’, which appeared at the venice biennale of architecture;Brooklyn academy of music cultural district in collaboration with Rem Koolhaas;‘Facsimile’, a permanent installation for the new moscone convention center expansion in San Francisco, and ‘Travelogues’, a permanent installation at the new JFK international arrivals terminal in New York.

Diller Scofidio + Renfro1979 - PresentDiller: Polish; Scofidio: American

+ Diller Scofidio

Overheard / It is a representation of something in that it is not the thing itself. In this sense, it cannot help but be embodied.

Para-Site / “The structural supports for the video machinery complement this scientific scrutiny of the body and create a highly technical and disturbing environment, one that is measured by the machine and not by the human body.”

+ Diller Scofidio

Slow House / The house is simply a passage, a door that leads to a window, physical entry to optical departure.

+ Diller Scofidio

CASE NO. 00-17163 (Fragment) / The reader is drawn into the work in an attempt to determine exactly what has occurred. It’s almost like mapping a forensic investigation.

+ Diller Scofidio

Peter Eisenman

Considered one of the most important architects and educators of the second half of the twentieth century, Peter Eisenman has had an extensive career spanning over 50 years.

Founder and director of The Institute for Architecture and Urban Studies from 1967, during which Eisenman address issues that revolved around the nature of the modern city and housing. In 1969, through an exhibition at the MoMA, he became associated with the architects who would become known as the New York Five. During that time, he

begun a series of residential designs, known as cardboard architecture, referencing their thin white walls and model like qualities. This work stemmed from his interest in language and semiotics. With this work, a text was followed to explain the work. With it, a series of drawings that dissected the process of design for the buildings.

In the late 1970’s Eisenman had then turned to Postmodernism where he further explored the ideas incited with the House Projects. His later work began to become even more complex and became part of the philosophical movement known as Deconstruction. In the 1980 he established his practice in New York City and continue to make architecture. Peter Eisenman has several publications which include Diagram Diaries (1999), Eisenman Inside Out (2004) among others.

Peter Eisenman Architects1932-American

+ Peter Eisenman

House VI / Part of the Houses I-X projectTransformations As part of the Houses I-X, this diagrams shows transformations of house VI in axonometric.

House III / A diagram of the transformations of a cube that develop into House III as part of the project House I-X .

+ Peter Eisenman

Maison Dom-ino Diagrams / A diagram that disects and analyzes Le Corbusier’s Maison Dom-ino

+ Peter Eisenman

Michael Graves

MIchael Graves is a well-known American architect who has be recognized for his work in postmodern architecture as well as his line of domestic products sold at retail stores.

Born on July 9, 1934 in Indianapolis, Indiana, Michael Graves had a childhood interest in drawing and painting that has stayed with him throughout his career in architecture. Michael Graves received his architectural training at the University of Cincinnati in a cooperative

program that allowed him to work in the architectural office of Carl A. Strauss and Associates while completing his formal classroom education. It was at Strauss’s office that Michael Graves met an early mentor, Ray Roush.Upon receiving the degree of Bachelor of Science in Architecture in 1958, Michael Graves entered Harvard University’s Graduate School of Design and received a Master of Architecture degree the following year. After graduation, Michael Graves went to work for the designer and architect, George Nelson, where his long-standing interest in furniture design was encouraged. Michael Graves’s stay at Nelson’s office was short-lived however, because in 1960 he was the recipient of the Prix de Rome fellowship of the American Academy in Rome.

From: http://architect.architecture.sk/michael-graves-architect/michael-graves-architect.php

Michael Graves Architecture & Design1934 - PresentAmerican

+ Michael Graves

Arabesque / Acrylic on gesso board

The Portland Building / Considered to be one of the first major built works of Postmodernist design.

+ Michael Graves

The Portland Building / Colored pencil study of general elevation, with perspective and other sketches for a proposed cupola.

+ Michael Graves

Temples of Juno & Neptune / An elevation sketch studying the porpotions of the structure.

+ Michael Graves

Domus Agustana / A drawing of Roman ruins that explored what is currently and what might have been previously.

+ Michael Graves

Zaha Hadid

Zaha’s buildings are distinctively neofuturistic, characterised by the “powerful, curving forms of her elongated structures”[1] with “multiple perspective points and fragmented geometry to evoke the chaos of modern life”.[2] She is currently professor at the University of Applied Arts Vienna in Austria. Most architects make

drawings. Yet, Zaha’s drawings of the 1980s are different, and in several ways. Most notably, she had to originate new systems of projection in order to formulate in spatial terms her complex thoughts about architectural forms and the relationships between them. These new projection methods were widely copied in their time, and influenced, I believe, the then-nascent computer modeling culture. More to the point, they enabled her to synthesize entire landscapes within which a project she was designing may have been only a small part. This has been crucial to her thought because she sees architecture as an integral part of the wider world. She was a global architect long before the term acquired its present meaning.Studying the drawings from this period, we find that fragmentation is the key. Animated bits and pieces of buildings and landscapes fly through the air. The world is changing. It breaks up, scatters, and reassembles in unexpectedly new, yet uncannily familiar forms.

http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/

Zaha Hadid Architects 1950 – PresentIraqi-British architect

+ Zaha Hadid

Hafenstrasse Office and Residential Development, Hamburg, 1989 / http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/ She consistently maintains a distanced aerial view in her work that creates these omniscient perspectival moments.

The World (89 degrees), 1983 / http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/ The painting articulates a need to investigate and extend the untested experiments of modernism.

+ Zaha Hadid

Vitra Firestation design stidy, 1990 / http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/ The vision here is no longer about breaking up and scattering. Rather, it is about gathering together and directing. It is also about the making of unified, and unifying, forms.

+ Zaha Hadid

Christine Hawley

Christine Hawley completed her Architectural Association Diploma at the Architectural Association School of Architecture, London, in 1975. While she was completing her studies, she worked in the Department of Environment in London and practiced with Renton, Howard, Wood and Levin Architects, also in London. From 1972 to 1973 she practiced with De Soissons Partnership Architects and Yorke Rosenberg and Mardell (YRM) Architects, both in London.

In 1975, Hawley became a partner in Cook and Hawley Architects, London. In 1978 she registered as a British architect (ARCUK) and practiced with Pearson International Architects in London. In 1998 she established Christine Hawley Architects, also in London.

From: http://www.christinehawleyarchitects.co.uk/

Christine Hawley ArchitectsBritish

+ Christine Hawley

Metamorposis / “Burnt Iron-Rotting Wood,” a housing project in a London suburb.

Urban Collage / A collage made from visual materials found in the London suburb of Peckham. Hawley wanted to challenge how contemporary assumptions about urban situations inform the project’s design.

+ Christine Hawley

Urban Collage / A collage made from visual materials found in the London suburb of Peckham. Hawley wanted to challenge how contemporary assumptions about urban situations inform the project’s design.

+ Christine Hawley

A collaborative drawing with Peter Cook.

+ Christine Hawley

Thomas Hillier

Thomas Hillier’s work has been published extensively in books and journals such as Blueprint, Icon and Domus and he continues to write internationally on the use of narrative within architecture. A recent graduate, Thomas Hillier received his MArch in Architecture with a Distinction

from the Bartlett School of Architecture and was awarded the ‘Dean’s list for excellence in design’ under the tutelage of CJ Lim in 2008. Nonetheless, he has already exhibited around the world, notably in 2012 with his first solo exhibition at the RAW Gallery of Architecture in Winnipeg, Canada. In 2010 his project entitled ‘The Migration of Mel & Judith’ was exhibited at the Royal Academy Summer Exhibition where he was awarded a High Commendation for best first time exhibitor and was interviewed and featured on the BBC Culture Show.

Thomas’s architectural interests go beyond the built environment to include art, design, storytelling and installations with a particular interest in how literature can be directly translated into urban and architectural space. He attempts to look at architecture from a different perspective, using unorthodox narratives and programs to create original and often surreal observations. Most recently, Thomas is co-founder of FLEAFOLLYARCHITECTS, a new energetic architecture practice.

FLEAFOLLYARCHITECTS1982 - PresentBritish

+ Thomas Hillier

Migration of Mel and Judith, Luxor / A theatrical story-line about Mel (short for Melvin) and Judith, a recently retired couple from Croydon who have decided to give up on their life in London’s third City and travel Europe in search of the perfect caravan spot and a touch of hot weather!

The Emporer’s Castle, Chapter 1 / The first meeting. This project is an adaptation of a traditional story of a Princess and a “Cowherd” falling in love only to be separated by the Princess’ father, the Emperor.

+ Thomas Hillier

The Emporer’s Castle - Triptych / This piece of narrative architecture was the vehicle to examine current day cultural and social issues in Japan such as unconditional piety, relentless work ethic, and conservative attitudes towards love.

+ Thomas Hillier

The Emporer’s Castle / A narrative model to represent the set within the urban fabric of Tokyo City.

+ Thomas Hillier

Christian Kerrigan

Christian Kerrigan was born in Co. Wicklow, Ireland in 1979. In his art he uses digital technology to make objects, installations, and drawings which draw out an array of ideas about nature, technology and mortality. The 200 Year Continuum is the title given to his collection which he has been developing since graduating with a Masters, from The Bartlett School of Architecture in 2007. At this time Christian was awarded the Fitzroy Robinson Drawing Prize, at University College London and the Reid Prize for Postgraduate Diploma. Previously graduating from Edinburgh College of Art, he also received a Dipolma in Architectural Technology at Dublin Institue of Technology in Ireland.

After graduating his drawings were published alongside artists Joseph Beuys, Jeanne Claude & Christo, Olafur Eliasson and Cai Guo Qiang in the publication, Art in Action, Nature, Creativity and Our Collective Future, in

partnership with United Nations Environment Programme (UNEP) and Natural World Museum (NWM) San Francisco. The publication was exhibited at the Nobel Peace Center in Oslo, Norway & the BOZAR at the Palace of Fine Arts Brussels Belgium. At this book launch in San Francisco Christian was introduced to internatinal curators opening his spectrum of opportunity.

He worked at STUFISH with Mark Fisher, designing stage set for large concert venues and art pavilions. After this experience christian began developing installatons for art galleries in order to continue his development of The 200 Year Continuum. Christian exhibited installations at The Jago Contemporary Art Gallery in September 2008 and The Bargehouse show ‘Transition’ at Oxo Tower Wharf, London in March 2009.

In November 2008, Christian was guest speaker and exhibitor at the GSK New Contemporary Art season, at the Royal Academy of Arts, London. In December that year he aslo presented his work at the 11th Generative Art International Conference Milan and in February 2009, he presented at an international conference of Architecture and Complexity at University College London. In August 2009 he was selected to present an Art paper from the The 200 Year Continuum at SIGGRAPH, the 36th International Conference on computer graphics and interactive techniques, New Orleans. Christian was also awarded Artist in residence by Arts Council of England and Creative Partnerships to develop the use of digital technology in collaboration with Our Lady’s Catholic Primary school Stoke-on-Trent from February to July 2009.

In March 2009, he was also selected for Tate Modern, Unilever Series: Dominique Gonzalez-Foerster TH 2058 Visions for London 2058 and the MMOCA Publication, Visionary Drawings by Massachusetts Museum of Contemporary Art. In August 2009, his narrative ‘The Amber Clock’, was published in a Special Issue of Leonardo, the journal of art and technology and also Technoetic Arts focusing upon the juncture between art, technology and the mind.

Christian Kerrigan2009 - PresentIrish

+ Christian Kerrigan

Atelier 01 / The ‘Drawing’ will act as a conceptual space and technique to challenge ideas between man, matter, scale and time.

Daylighting the Virtual / A fragment of a physical sculpture I made, was captured using 3D software, colliding with digital weather systems.


The 200 Year Continuum / This is the society’s relationship to emerging technologies and the natural world - in this case, the last remaining yew forest in the UK.


The 200 Year Continuum / By controlling the manipulation of refined armatures, calibrating devices and designed corsets; the system is capable of controlling the growth of a ship inside the forest. The ship will grow over a period of two hundred years and will exist as a hidden architecture inside the trees.


The 200 Year Continuum / This project explores the possibilities of a symbiotic relationship between two different systems of organization, technol-ogy and nature. The technology is designed to theoretically alter newly planted trees in the last remaining Yew forest- Kingley Vale.


Rem Koolhaas

The next landmark publication by Koolhaas was S,M,L,XL, together with Bruce Mau, Jennifer Sigler, and Hans Werlemann (1995),[13] a 1376-page tome combining essays, manifestos, diaries, fiction, travelogues, and meditations on the contemporary city. The layout of the huge book transformed architectural publishing, and such books—

full-colour graphics and dense texts—have since become common. Ostensibly, S,M,L,XL gives a record of the actual implementation of “Manhattanism” throughout the various (mostly unrealized) projects and texts OMA had generated up to that time. The part lexicon-type layout (with a marginal “dictionary” composed by Jennifer Sigler, who also edited the book) spawned a number of concepts that have become common in later architectural theory, in particular “Bigness”: ‘old’ architectural principles (composition, scale, proportion, detail) no longer apply when a building acquires Bigness. This was demonstrated in OMA’s scheme for the development of “Euralille” (1990–94), a new centre for the city of Lille in France, a city returned to prominence by its position on the new rail route from Paris to London via the Channel Tunnel. OMA sited a train station, two centres for commerce and trade, an urban park, and ‘Congrexpo’ (a contemporary Grand Palais with a large concert hall, three auditoria and an exhibition space). In another essay in the book, titled “The Generic City”, Koolhaas declares that progress, identity, architecture, the city and the street are things of the past: “Relief … it’s over. That is the story of the city. The city is no longer. We can leave the theatre now...”

Rem Koolhaas OMA1944-PresentDutch

+ Rem Koolhaas

Melun-Senart/ Plan of linear void

Melun-Senart/ Color drawing

+ Rem Koolhaas

Transferia, project/ Conceptual drawing in 1991

+ Rem Koolhaas

Transferia, project/ Transportation system drawing in 1991

+ Rem Koolhaas

Leon Krier

Leon Krier is an architect, urban planner, and architectural theorist. He is known as one of the most influential neo-traditional planners and architects. He is also renowned for his critiques of the modern architecture movement, especially regarding suburbanization. As a result, he is a huge advocate for the reconstruction of the traditional urban model found in older European cities.

Krier began studying architecture at the University of Stuttgart, but dropped out after one year to work instead

for James Stirling in 1968. After working for three years, he practiced architecture and taught in England at the Architectural Association and Royal College of Art. He famously said, “I am an architect because I don’t build.” He has written many books including, Drawings for Architecture; Houses, Palaces, Cities and Architecture & Urban Design.

He was the first director of the SOMAI (Skidmore, Owings, & Merril Architectural Institute) in Chicago, IL. Since that position Krier has mainly worked on furniture design for Giogetti, Italy.

SOMAI1946-presentLuxembourger

+ Leon Krier

Construction/ Drawing for Architecture

Accumulation/ Drawings for Architecture

+ Leon Krier

House for Rita/ http://www.,moma.org

+ Leon Krier

Hypostyle House / Archive of Affinities Leon Krier

+ Leon Krier

Jimenez LaiBureau-Spectacular2008 - PresentAmerican

shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam.

Before founding Bureau Spectacular, Lai worked for various international offices, including OMA. In the past years, Lai built numerous installations as well as being widely exhibited and published around the world, including the MoMA-collected White Elephant. His first manifesto, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation.

Jimenez Lai has pioneered an unexpected and wholly unique approach that moves beyond contemporary architectural renderings and models. His graphic novel - Citizens of No Place is a collection of graphic stories on architecture and urbanism.

Inspired by the theoretical drawings of paper architects, Lai uses manga-style storyboards to explore the role of fantasy and storytelling in architecture and in the process ushers in the next generation of theory and criticism.

Jimenez Lai is a faculty member at UCLA and taught at University of Illinois at Chicago. He graduated with a Master of Architecture from University of Toronto. Previously, Jimenez Lai lived and worked in a desert

+ Jimenez Lai

Abstraction of Living / Using comics which simultaneously designs the work, its mythology, and its narrative

Cartoonish Metropolis /This project proposes a democratic gorging of architectural fairytales into the interior of skyscrapers to embellish the metropolitan as a cultural incubator, with an over-saturation of fun, generosity and softness.

+ + Jimenez Lai

Giant urban toys / This project attempts at activating the urban voids of an American downtown by sprinkling skittles onto an otherwise serious and vacant urban landscape.

+ Jimenez Lai

Th e Crown of Love / An aggregation of character-like figures, this project uses multiple projections onto the same mass to introduce plural readings of the same mass, and attempts at a calibration of suggestive ambiguity.

+ Jimenez Lai

Tapped Capital / Taking the column more seriously as a comparable reading of the human body,this project perversed the freestanding column into street follies of early 2010s.

+ Jimenez Lai

Daniel Libeskind

Daniel Libeskind is an architect, professor, and artist. He initially was well known for his musical talents, willing scholarships and awards for his accordion playing. He moved to the United States in 1953 and attended school in New York City. After school he worked as an apprentice for Richard Meier and then briefly for Peter Eisenman.

He began his career first as an architecture professor and theorist at various institutions worldwide.

He formed Studio Daniel Libeskind in 1989 with his wife. He is currently the principal design architect of the firm. Some of his museum buildings include the Danish Jewish Museum, the Jewish Museum in Berlin, the Wohl Center in Ramat-Gan, Israel, the Imperial War Museum in England, the Michael Lee-Chin Crystal in Toronto, and many more. He also has a large residential portfolio and has had his work displayed at numerous museums. More recently, he won the competition for the master plan of the World Trade Center Site in New York City.

Studio Daniel Libeskind1946-PresentPolish-American

+ Daniel Libeskind

The Head/ http://daniel-libeskind.com

Way/ http://daniel-libeskind.com

+ Daniel Libeskind

Arctic Flowers / http://daniel-libeskind.com

+ Daniel Libesklind

Chamberworks II / http://daniel-libeskind.com/

+ Daniel Libeskind

CJ Lim

CJ Lim is the Professor of Architecture and Urbanism at the Bartlett UCL, (was Vice- Dean at The Bartlett Faculty of the Built Environment at University College London (UCL); and served as Pro-Provost of University College London.) and the founder of Studio 8 Architects

He is the founder and director of Studio 8 Architects, a UK-based multidisciplinary and international practice in sustainable urban planning, architecture and landscape, focusing on interpretations of social, cultural and environmental programmes.

His teachings and designs focus on multi-disciplinary innovative interpretations of cultural, social and environmental sustainability programs. His authored books include ‘Smartcities + Eco-warriors’ (2010), ‘Short Stories: London in two-and-a-half Dimensions’ (2011) and ‘Food City’ (2014), published by Routledge.

Selected Drawings:1. Dream Isle (2008) : Culture Assemblage2. Nam June Paik Museum (2003): Cultural Centres3. Baker’s Garden (2008): Culture Assemblage

Related links:http://www.cjlim-studio8.com/http://bldgblog.blogspot.com/2011/04/fiction-and-city.html

Studio 8 Architects, The Bartlett Faculty1964 - PresentMalaysia

+ CJ Lim

Dream Isle / 2008, (Culture Assemblage)

Nam June Paik Museum / (2003): Cultural Centres

+ CJ Lim

Baker’s Garden / 2008, (Culture Assemblage)

+ CJ Lim

Malevich

At a first glance, Malevich’s Black Square (1915) looks deceptively simple. But within these shapes lie a host of artistic associations. Malevich described the black square as the ‘zero of form’ and the white background as ‘the void beyond this feeling.’ In a way, his technique proclaimed that paintings are composed of flat, abstract areas of paint – just as much a rejection of the medium as a celebration of its

endless possibilities.

Here, the act of painting is subordinate to the rules of composition, form and color. Strangely, by rejecting the tactility and texture of paint, more emphasis is placed upon the paint itself. It had to be even, sharp, smooth and flawless in order to capture the essence of color. Sparse, yet bearing layers of philosophical, emotional depth, the effects of Malevich’s work were felt in the art world at the time and continue to resonate today.

Malevich’s life inspires many references featuring events and the paintings as players. The smuggling of Malevich paintings out of Russia is a key to the plot line of writer Martin Cruz Smith’s thriller Red Square. Noah Charney’s novel, The Art Thief tells the story of two stolen Malevich White on White paintings, and discusses the implications of Malevich’s radical Suprematist compositions on the art world. British artist Keith Coventry has used Malevich’s paintings to make comments on modernism, in particular his Estate Paintings. Malevich’s work also is featured prominently in the Lars Von Trier film, Melancholia.

Artist1879-1935Ukraine

+ Malevich

Rest. Society in Top Hats/ Drawing in 1908

Peasant Woman Carrying Buckets with Water/Drawing in 1913

+ Malevich

Peasant Woman Carrying Buckets with Water/Drawing in 1903

+ Malevich

Head of a Peasant Girl/ Drawing in 1903

+Malevich

Piet Mondrian

Known as one of the founders of the De Stijl movement. He is known for his pure abstractions and methods by which he arrived at his works. In his work, Mondrian simplified elements to reflect the order underlying the visible world. The result was a clear, almost universal aesthetic language. During the 1920’s, he painted his more well known work, reducing and completely abstracting the objects in the painting to rectangles and lines using only a very basic color palette. His abstractions, with its asymmetrical balanced and simplified vocabulary, were crucial in the development of modern art.

Mondrian 1872-1944Dutch

+ Piet Mondrian

Composition with Red, Yellow, Blue and Black / Oil on Canvas

Composition II in Red, Blue and Yellow / Oil on Canvas

+ Piet Mondrian

Composition No.10 / Oil in Canvas

+ Piet Mondrian

A highly collaborative, research-based design method involves clients, stakeholders and experts from a wide range of fields from early on in the creative process. The results are exemplary, outspoken projects, which enable our cities and landscapes to develop towards a better future.

MVRDV first published a manifesto of its work and ideas in FARMAX (1998), followed by MetaCity/Datatown (1999), Costa Iberica (2000), Regionmaker (2002), 5 Minutes City (2003), KM3 (2005), Spacefighter (2007) and Skycar City (2007), and more recently The Vertical Village (with The Why Factory, 2012) and the firm’s first monograph of built works MVRDV Buildings (2013).

MVRDV deals with issues ranging from global sustainability in large scale studies such as Pig City, to small, pragmatic architectural solutions for devastated areas such as New Orleans.

MVRDV was founded in 1993 by Winy Maas, Jacob van Rijs and Nathalie de Vries in Rotterdam, the Netherlands. The practice engages globally in providing solutions to contemporary architectural and urban issues.

MVRDVWiny Maas, Jacob van Rijs and Nathalie d Vries1993-PresentDutch

+ MVRDV

The Dutch Pavillion / “Holland creates Space”: the theme for the Netherlands Pavilion at the 2000 World Expo in Hanover : drawings translated into buildings

Play Oosterwold! / Masterplan where players are provided with simple rules and conditions to shape and build their individual plots

+ MVRDV

Market Hall / Collage and drawing become new skins for the new market hall building

+ MVRDV

FARMAX/Drawings and sketches by the architects to rethink new ways of approaching farming in urban densities

+ MVRDV

Photomontage / MVRDV’s photomontage techniques used to explore new forms of architecture and environments

+ MVRDV

Morphosis

Morphosis’ designs reflect the legacy of Southern Californian architects such as Rudolph Schindler and Richard Neutra. The studio was founded by Thom Mayne, Livio Santini, James Stafford, and Michael Brickler in 1972. They were joined three years later by Michael Rotondi. The office is named after the Greek term, morphosis, which signifies a process of forming or being in formation. Hence the name reflects a willingness to embrace sculptural shapes and the sensation of movement.

Morphosis’ design philosophy is targeted at creating meaning in architecture as a reflection of physical and mental contexts. Their buildings feature daring cuts and

sectioning, with a pragmatic sense of materiality, the use of pressed steel plates, concrete, and a few wellplaced elements of color. Visible constructions only add to the formal excitement of open-ended and juxtaposing spaces, which testifies to a sound understanding of urban surroundings and programmatic constraints.

Early projects were primarily of smaller scale and locally based, yet today Morphosis Architects is a significant global player on the architectural scene, with offices in Los Angeles and New York and projects in North America, Europe, the Middle East, and East Asia. This includes residential, institutional, and civic architecture, as well as large-scale urban design projects and small-scale object design. Parametric modeling and BIM are new tools in the hands of an office which has nevertheless always strived for spatial complexity and intricate interplays between concept and construction.

Thom Mayne (born 1944) is design director of Morphosis. Mayne graduated from the University of Southern California and the Harvard University Graduate School of Design and took part in the foundation of what has become one of the most cutting edge schools of architecture in the US, Southern California Institute of Architecture (SCIArc). Mayne has held several teaching positions and was awarded the Pritzker Architecture Prize in 2005.

Thom Mayne, Livio Santini, James Stafford, Michael Brickler, Michael Rotondi1972 - PresentAmerican

+ Morphosis

Wohnbau Wagramer Strasse / A housing project in Vienna, Austria, 1994

Cornell Tech / A design drawing of the Cornell Tech, 2012-2014

+ Morphosis

Hippocampus / An exploratory drawing upon the notion of the physical city and one built upon memory.

+ Morphosis

Ben Nicholson

Benjamin Lauder “Ben” Nicholson, OM (10 April 1894 – 6 February 1982) was a British painter of abstract compositions (sometimes in low relief), landscape and still-life. After traveling in Europe, Nicholson went to

Pasadena, California, in 1921. While there, he saw his first Cubist work — a painting by Picasso. He later said that “none of the actual events in one’s life have been more real than that, and it still remains a standard by which I judge any reality in my own world.”

Nicholson’s landscapes and still lifes of the early 1920s are mostly soft and luminous, with delicate colors and fluid, indeterminate forms. In 1922 in London, he had his first one-man show. His landscapes of the later 1920s reveal his poetic feeling for nature which was an important element in his work. There is a remarkable freedom in the treatment of scale and perspective in his work, and the forms often have a playful, toylike character. His almost naive approach has something in common with the work of Christopher Wood, with whom Nicholson was closely associated during the 1920s. Along with Wood, in 1928 he discovered at St. Ives in Cornwall the work of Alfred Wallis, the greatest modern English primitive. The work of Wallis had a profound effect on Nicholson.

1894-1982British

+ Ben Nicholson

appliance_house / Appliance House Image 2

Still Life / Crystal, 1948

+ Ben Nicholson

Crowned Head / a drawing of the Queen

+ Ben Nicholson

Feb 2-54

+ Ben Nicholson

Marcos Novak

Marcos Novak is an architect, artist, composer, and theorist who employs algorithmic techniques to design actual, virtual and hybrid intelligent environments. The self-described transarchitect is seeking to expand the definition of architecture by including electronic space, and originated the concept of liquid architectures in cyberspace and the study of a dematerialized architecture for the new, virtual public domain, the immersive virtual worlds.

Novak is professor at the Department of Architecture and

Urban Design at UCLA, he is the founding director of the Laboratory for Immersive Virtual Environments and the Advanced Design Research Program at the School of Architecture at the University of Texas at Austin, and a Fellow of the World Technology Network; and his (many) writings which combine architecture, music, art, computation, science, and/or technology include the seminal paper Liquid Architectures in Cyberspace (1991), transArchitecture: Against the Collapsing Radius of Fiction, and Transmitting Architecture: The transPhysical City (1996) - which became the theme of the XXIII World Congress of the UIA ((Union Internationale Des Architectes, 2008).

From: http://v2.nl/archive/people/marcos-novak/view

1957 - Present

+ Marcos Novak

AlloBio Project / Transarchitecture: exploring the relationships between virtual and physical

AlloBio Project / Transarchitecture: exploring the relationships between virtual and physical

+ Marcos Novak

AlloBrain @ AlloSphere / An immersive environment created from a MRI scan of Novak’s brain. The Allo-Sphere is a three-story high sphere for the creation of immersive virtual environments.

+ Marcos Novak

Data Driven Forms / 1997 - 1998

+ Marcos Novak

TransTerraFirma: After Territory / Hybrid territory and hybrid territoriality: hybrid terror to reality, territoReality

+ Marcos Novak

Walter Pichler

Born 1936 Deutschnofen, Italy; Died 2012 Burgenland,Austria, Walter Pichler, an architect who became a leading artist in Austria’s postwar avant-garde movement, eventually distancing himself from the art establishment by moving to a farm and creating works mainly to please himself.

He works in the border zone between sculpture andarchitecture, specializing in architectural designs forutopian city-planning projects and three-dimensional

models confronting space and individual perception.

His works included a white, torpedo-shaped helmet with a television inside it (“Portable Living Room”), a rusty bed frame supporting a humanoid form divided by sheets of jagged glass, and numerous drawings and models of fantastical structures, among them floating cities and underground buildings.

Together with Hans Hollein he demanded that architecturebe free from the constraints of construction and thatsculpture be free from the limits of abstraction.

Selected Drawings:1. Barn2. Drawing for “Intensivbox,” 19673. Small Tower

Related links:http://www.gladstonegallery.com/artist/walter-pichler/work#&panel1-1http://criticundertheinfluence.wordpress.com/2009/11/09/walter-pichler-prototyping-escape/http://www.moma.org/ http://www.nytimes.com/

Archiect, sculptor, and illustrator1936-2012Austria

+ Walter Pichler

Barn / by Walter Pichler

+ Walter Pichler

Drawing for “Intensivbox” / 1967

Small Tower / 1989, longitudinal section

+ Walter Pichler

Rudolph Schindler

Rudolph Michael Schindler was an Austrian-born American architect whose most important works were built in or near Los Angeles during the early to mid-twentieth century. Schindler was born in Vienna in 1887 and educated at the Bau-(Architektur) schule of the k.k. Technische Hochschule (Polytechnic Institute) in Vienna from 1906–11. Before he had finished his degree there, he enrolled in the k.k. Akademie der bildenden Künste (Academy of Fine Arts)

from 1910–13, studying with Otto Wagner and Adolf Loos, whose ideas about modern architecture permeated the school. But perhaps the biggest influence on the young architect was the work of Frank Lloyd Wright, who he later joined in 1918 before beginning his own practice in Los Angeles, CA.

Schindler designed around 500 projects of which about 150 were built. Many other projects included a collaboration of works with the famous Richard Nuetra. These were largely single-family houses, although there were some apartments, small commercial buildings, and a single church. Few clients were quite as radical in their tastes as Schindler was himself and in addition Schindler developed ways to make inexpensive modern architecture out of cheap materials—stucco and plaster over wood frame. Rudolf Schindler is associated with the one of the greatest pioneers in the California modern movement. His inventive use of complex three-dimensional forms, warm materials, and striking colors, as well as his ability to work successfully within tight budgets placed him as one of the true mavericks of early twentieth century architecture.

1887-1953Austrian-American

+ Rudolph Schindler

Warshaw Residence, 1936 / The Warshaw Residence was a building for a home in Silverlake, Los Angeles that never was realized.

Translucent House / Aline Barnsdall Translucent House project for Palos Verdes Estates, 1927-1928.

+ Rudolph Schindler

House for Schindler and Clyde Chace, Kings Road, Hollywood, 1921-1922 / Perspective of the view from the garden.

+ Rudolph Schindler

Massimo Scolari

Massimo Scolari (Born in Novi Ligure, March 31, 1943), is an Italian architect, painter and designer.

He graduated in architecture in Milan in 1969. In 1973 he became a professor of History of Architecture at Palermo, and of Drawing at the Istituto Universitario di

Massimo Scolari1943 - PresentItalian

Architettura di Venezia (IUAV). Between 1975 and 1993, he was visiting professor in various universities among which: Cornell University, Cooper Union in New York City, the Institute for Architecture and Urban Studies in New York, Technische Universität in Vienna, Harvard University, and University of Cambridge. From 2006, he was a Davenport Visiting Professor at the Yale School of Architecture. He is the editor of “Controspazio”, “Casabella”, “Lotus International”, and is the director of “Eidos” (1989-1995) and a series of architectural books by Franco Angeli (1973-1988). From 1989, he designed furniture for Giorgetti, where he was also the art director until 2001. He has held exhibitions in Europe, Japan, Russia and the United States. His works are in the permanent collections at the MoMA (New York), the Teheran Museum of Contemporary Art, the Deutsches Architektur Museum (Frankfurt), and the Centre Pompidou (Paris). In 2014 he is the recipient of the Arnold W. Brunner Memorial Prize in Architecture, awarded by the American Academy of Arts and Letters in New York.

“...Scolari offers through his paintings images of a world of objects captured in their essence and landscapes uncontaminated by the usual aesthetic prejudices of human sight.”

Scolari does not paint “what might be”, nor does he abandon himself to facile ironies on what is. Instead he sets down – conscious as he is of having no message whatever to convey – a continuous reasoning whose themes are seeing and the means of representation

+ Massimo Scolari

Addio Melampo (1975) / Massimo portrays the resisting powers of the pyramid, in competition with natural forms as it stands tall over the mountains. The perfect geometries are juxtaposed by the two imperfect peaks below. The horizontal cut helps to emphasize this perfection while the exploded sphere emerges with indifference.

La piramide malata (1974) / A study of a virus that is embodied in organic forms that bring disease to the perfect geometry of the pyramid, dissolving it’s borders as it wishes to appear. The attempt to go beyond phenomnema is thus implicitly recognized as the fruit of a disease that silently erodes and for which no cure exists. All that remains is to follow the previously rejected path of sublimination.

+ Massimo Scolari

La fine della città (1973) / Here the forms attack, and attacks one another. The overalden architectonic landsacpes crash into one another like industrial landscapes.

+ MASSIMO SCOLARI

Il ponte della Donna Onesta (1979) / The bridge of the honest woman.

+ Massimo Scolari

Archeologia artificiale (1979) / The pyramid, the glider and the wire are three elements customarily employed by Scolori.

+ Massimo Scolari

Laura Allen & Mark Smout

Mark Smout and his partner, Laura Allen, are principals at Smout Allen and are Senior Lecturers at the Bartlett School of Architecture, University College London. Their

Smout Allen1995 - PresentAmerican

work takes two routes, architectural competitions, where the particular rigor of the competition brief, site and program provide the basis for new investigations and, conceptual design projects which test out the agenda and methodology of the design research practice. Smout Allen focuses on the dynamic relationship between the natural and the man made and how this can be revealed to enhance the experience of the architectural landscape.

Smout Allen scrutinise and interpret the urban and rural landscape, its reaction and adaptation to natural environmental events and the ‘artificial’ influence of man. ‘The Retreating Village’, which proposes a peripatetic architecture for a disintegrating coastline has been commented on and published widely. They have recently published the best-selling Augmented Landscapes in the renowned Pamphlet Architecture series, in 2005 they received the Award for Architecture at the Royal Academy of Arts Summer Exhibition.

+ Smout Allen

Sectional isometric view of the Wet Lands project / Extremes of water scarcity and abundance in London’s fresh-water supply and floodplain are buffered by a series of architectural and technological interventions

Plan drawing for the Lanzarote Project / The aim was to generate energy for Lanzarote using hydrological processes: like the Thames Gateway project, it is a response to climate change and its effects on water in the landscape

+ Smout Allen

BLUE REVENTMENTS / A drawing for the Retreating Village project. Like many of their projects, the starting point was an ecological process: in this case, erosion

+ Smout Allen

RED HULK ELEVATION / Elevational view from the cliff edge for Retreating Village project

+ Smout Allen

James Stirling

Stirling graduated in architecture from the University of Liverpool after service in World War II. During the next six years he worked in London, mainly with the firm of Lyons, Israel and Ellis, and in 1956 he started his own practice in partnership with James Gowan, then a colleague in the same office. With their first major commission, a group of flats (1957) at Ham Common, London, Stirling and Gowan established a reputation for forthright design.

After 1969, when Leon Krier spent some time in Stirling’s

office, he showed a renewed interest in the social and cultural aspects of architectural form, and hence in its contextual appropriateness. The contextual and technical aspects are finely balanced in a project for an Arts Centre (1971; unexecuted) at the University of St Andrews. In 1971 Stirling took his associate Michael Wilford (b 1938) into partnership; their projects for various German clients integrated contextual and historical aspects into the designs, maintaining a fine balance between the resonances of past and future. The success of this approach is perhaps most readily evident in the design for the Staatsgalerie (1977–84) at Stuttgart, where the main volumes conform to the original museum but entrances and other elements suggest a modern sense of dissonance and improvisation.

The later work of Stirling and Wilford shows increasing mastery in the ability to contain both technological and traditional elements within a consistent but flexible modern style. He was a master in the combination of opposites, and the balance achieved in his work was a fusion between the requirements of the building programme and the prompting of a powerful architectural sensibility. Stirling achieved wide recognition from his professional colleagues, culminating in the award of the RIBA Gold Medal in 1980. (cited from Robert M. Maxwell, Oxford University Press)

1926-1992Scottish and British Architect

Office for Siemens AG / Stirling often used drawing as a way to further investigate and study design ideas.

+ James Stirling

+ James Stirling

Florey Building, Queen’s College / Drawings done with Michael Wilford Fonds.

+ James Stirling

Olivetti Headquarter’s, Milton Keynes / Drawing done with Leon Krier.

Superstudio

Lorem ipsum dolor sit amet, consectetur adipiscing elit. “In the beginning we designed objects for production, designs to be turned into wood and steel, glass and brick or plastic - then we produced neutral and usable designs, then finally

negative utopias, forewarning images of the horrors which architecture was laying in store for us with its scientific methods for the perpetuation of existing models.” This was how Superstudio described its work in a catalogue the group produced to accompany the 1973 exhibition Fragments From A Personal Museum at the Neue Galerie in Graz, Austria.

Superstudio’s thinking has proved more enduring than the group itself. Quaderna tables are still in production at Zanotta and Superstudio’s collages and drawings have been acquired for the permanent collections of Centre Georges Pompidou in Paris and the Museum of Modern Art, New York. Moreover the group’s once radical theories about architecture’s environmental impact, the potentially negative consequences of technology and the inability of politics to untangle complex social problems are now considered to be core concerns by self-aware contemporary architects and designers.

Founded by Adolfo Natalini and Cristiano Toraldo di Francia1966 – 1978Italian architecture firm

+ Superstudio

Cube of Forest on the Golden Gate/ http://imgkid.com/superstudio-life-without-objects.shtml / In space, artists are concerned with geography, geometry, and dimensions of distance or volume; however, in place, artists are investigating the culture, history, identity, and politics of a location. If place can then exist within non-physical environments, then it is a ripe location for digital artists to inhabit and work within.

Supersurface/ http://arch122superstudio.blogspot.com/2012/06/superstudio.html

+ Superstudio

The continuous monument / http://arch122superstudio.blogspot.com/ The architects from Superstud-io movement were trying to understand the order on the earth with the help of architecture. There is a “modeate utopia” to imagine a near future in which all architecture will be created with a single act, from a single design capable of clarifying once and for all the motives which have induced man to build dolmens, menhirs, pyramids and lastly to trace a white line in desert.

+ Superstudio

Bernard Tschumi

Bernard Tschumi (b. 1944) is a French-Swiss architect. He received his degree from ETH Zürich in 1969 and was the Dean of the Graduate School of Architecture, Planning, and Preservation at Columbia from 1988-2003. He is frequently associated with deconstructionism, and his writings and work focus on the relationship between architecture and the event. This was most prominently explored in The Manhattan Transcripts (1981), where he explored an architectural interpretation of reality. Plans, sections, and diagrams outline paces and indicate movements of

protagonists intruding into an architecture “stage set.” This project was to transcribe things normal removed from conventional architectural representation, namely the complex relationship between spaces and their use, between “type” and “program,” between objects and events. The ideas developed in these transcripts were implemented in Tschumi’s winning proposal for Parc de la Villette in 1982 (which also coincided with the establishment of his own practice, Bernard Tschumi Architects). The design for the park was meant to design spaces for culture rather than nature, with elements of the park supporting and manipulating interaction between users and site, organized by a grid of 35 follies. The drawings of Tschumi develop the idea of the event within architecture, and to explore architecture’s role as a tool to question and revise the social structure within it. “Any relationship between a building and its users is one of violence,” Tschumi writes in Architecture and Disjunction (1996), “for any use means the intrusion of a human body into a given space, the intrusion of one order into another.” For Tschumi, architecture and the inhabitation of architecture are not mutually exclusive, but rather the relationship between the two has the potential for new types of interaction to be explored.

1944-presentSwiss Architect

+ Bernard Tschumi

Manhattan Transcripts / A study of human movement and how it can inspire spacial relationships.

Manhattan Transcripts - Continued

+ Bernard Tschumi

+ Bernard Tschumi

Volumetric Notation: National Theatre of Japan/ A study of form and its effects on spacial constraints.

+ Bernard Tschumi

Parc de la Villette/ The park map displaying an extrusion of grid and subsequent follies.

Robert Venturi

A 1950 graduate of Princeton University, Robert Venturi challenged the rigidity of modernism and promoted the richness and ambiguity that history provides in architecture. He worked in the offices of Eero Saarinen and Louis Kahn before establishing his own firm, Venturi was heavily influenced by, but rarely associated with, modern architecture. One of his first notable projects, a house for his mother, received much attention for its prominent use of ornamentation on the facade. In the introduction of his first book, ‘Complexity and Contradiction in Architecture’,

published in 1966, Venturi writes that "As an architect, I try to be guided not by habit but by a conscious sense of the past—by precedent, thoughtfully considered." He continues later, "As an artist, I frankly write about what I like in architecture: complexity and contradiction. From what we find we like—what we are easily attracted to—we can learn much of what we really are.” Venturi is an architect whose work cannot be categorized; to him, there is never a single solution. Lest anyone try to pigeon-hole him as a postmodernist, he declared that he was practicing modern architecture, while still giving importance to human use, memories, comfort and entertainment.

Robert Venturi's wife and partner, Denise Scott Brown, has been his collaborator in the their evolution of architectural theory and design. They worked on another book, ‘Learning from Las Vegas,’ with Steven Izenour, and explored the conditions of urban sprawl, suburbs, and signage in relation to their architectural theories. While the work produced by Venturi is too rich and vast to describe in this short bio, his ideology as a designer and theorist can best be described by his own quote:

"When I was young, a sure way to distinguish great architects was through the consistency and originality of their work...This should no longer be the case. Where the Modern masters' strength lay in consistency, ours should lie in diversity."

Venturi, Scott Brown and Associates1925-presentAmerican Architect

+ Robert Venturi

Learning From Las Vegas / Drawings depicting their theory of the building as a decorated shed.

National College Football Hall of Fame / A design to depict the building as the billboard.

+ Robert Venturi

Michael Webb

Michael Webb (b. 1937, Henley-on-Thames) is a British architect and founding member of Archigram. He studied at the Royal Polytechnic Institution, and took seventeen years to complete the 5-year curriculum. One of his projects as a student, entitled The Sin Center, received a failing grade but ended up on display at a 1962 MoMA ‘Visionary Architecture’ exhibition. This project explored the relationship of bringing together different ‘popular culture’ elements in relationship to the automobile. Webb continued this interest as a member of Archigram, which

he was a founding member in 1963. In Archigram, Webb along with Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, and David Greene, drew inspiration from modern technologies and pop culture to create a series of hypothetical, neofuturistic, and consumerist projects as a reaction against the prevalence and sterility of modernism. Their work was meant to to be “a new architecture that would stand alongside the spacecapsules, the inflatable structures and the lifestyles of a new generation.”

In his own work, Webb has studied linear perspective, most notably in his Temple Island projects. In this project, Webb attempts to layer different depictions of a landscape in a single drawing. By working from a two-dimensional photograph as the ‘site’ (as opposed to a three-dimensional habitable landscape), Webb interprets different ‘speeds’ of a rowing regatta as an elevation, as both a reality within the photograph and the perception of it from the viewer. The result is a series of images that test the relationship of time, and well as distance, to the page. As a result, the Temple Island projects challenge the conventions of traditional architectural perspective.

Archigramb. 1937English

+ Michael Webb

Sin Palace (1962) / Plan drawing depicting the relationship between the programs and the automobile.

Sin Palace / Section

+ Michael Webb

“Site” Photograph of the Royal Henley Regatta / Webb used this postcard photograph to create his ‘Temple Island’ perspective drawings (obtained from his lecture slides)

+ Michael Webb

Temple Island / Perspective Study

+ Michael Webb

Rent-A-Wall, Archigram 7, 1966 / A drawing as an advertisment, this image depicts space through the use of two-dimensional planes and figures.

+ Name of the Architect

Cushicle, 1967 (oil on canvas) / this painting shows the technology of an inflatable suit, that can be used at a range of scales, from clothing to an inhabitable house.

+ Name of the Architect

Lebbeus Woods

An American Architect and Artist, Lebbeus Woods career involved intense exercises in the breaking of architectural boundaries, embodied in a vast archive of speculative and experimental work.

His studies explore in depth the design of systems in crisis, seeking new order in the conflation of the existing and the new, in a a rigorous process of poiesis

Acknowledging the parallels between society’s physical and psychological constructions, he has depicted a career-long narrative of how these constructions transform our being. Working mostly, but not exclusively, with pencil on paper, he has created an oeuvre of complex worlds—at times abstract and at times explicit—that present shifts, cycles, repetitions within the built environment.

His timeless architecture is not in a particular style or in response to a singular moment in the field; rather, it offers an opportunity to consider how built forms impact the individual and the collective, and reflect contemporary political, social and ideological conditions, and how one person contributes to the development and mutation of the built world.

Extracts From Drawing Papers 114: Lebbeus Woods

1940 - 2012America

+ Lebbeus Woods

Locus of Memory / A speculative reconstruction of the World Trade Centre Post 9/11

Icebergs / A community of inhabited structures floating outside the San Diego harbor. Much of their form—and interior space—is beneath the surface of the sea

+ Lebbeus Woods

City of Water / The pieces scattered near the shore were mere bits and parts compared to whole buildings and other monumental shards that I saw casually thrown together here.

+ Lebbeus Woods

Mas Yendo

“What I speculate in my work is that new technologies will play an important part in how architects embrace new ideas. The advancement of seemingly unrelated sciences such as biochemical engineering, coupled with the growing consciousness of environmental issues, furthered by the development of mechanical design, must serve to inspire creativity.

Under the sway of abstract scientific theories, architecture has lost its connection to the concrete experience of space.

Theoretical models derived from the natural sciences tend to overlook significant characteristics of the physical environment and their effects on human occupants. Often, technologies are imagined to fulfill human needs that remain, in fact, completely unsatisfied.We must therefore think of a place as a qualitative, total, existential phenomenon. Existential space: this is the basic relationship between man and his environment.”

Born in Tokyo, Japan in 1957, Mas Yendo attended the Rhode Island School of Design (RISD) (BA) and the Pratt Institute where he received his Masters of Architecture degree. His work is inspired by the aesthetics of machinery, hardware, and post-apocalyptic possible worlds that have appropriated machines for inhabitation and the spectacle of a science fiction-like future. His drawings often allude to a grungy, dark possibility, in the event of an ecological disaster, or the possible collapse of consumerism. However, his drawings also emit an optimism, one that uses drawing to push back on limiting conditions of today’s global culture.

He won the “Sidney Katz Award” for design in 1989. He is also an invited lecturer at the Pratt Institute, University of Innsbruck, the Bartlett School of Architecture, and SCIARC.

1957 - PresentJapanese

+ Mas Yendo

B1-9004: Reef Machine, 1990 / A eleven story research institute sited in Sagami Bay, Japan.

UL-9304: Urban Living Unit, Single-Occupancy / A proposal for a personal unit for one person, re-evaluating inhabitation.

+ Mas Yendo

UL-9005: Architectural Phenomenolgy Institute / A project that situates life situations and designates existential space as the basic relationship between man and his environment.

+ Mas Yendo

UL-9304 UL-U.S.O. Project 02 / The UL-9304 boasts 150 square feet of living area on a flatbed chassis, providing photovoltaic panels and a waste management system.

+ Mas Yendo

UD-9010: Samarkand Ptolemy Institute of Astrology, 1990 / A research institute for the country of Uzbekistan with an agenda to strengthen its industrial and economic systems.

+ Mas Yendo

Documents

The Pink Horizon