Caruso St John

The Façade is the Window to the Soul of Architecture, Venice Architecture Biennale, 2018


The exhibition presents elevation drawings of a number of the practice’s own projects, some built and some in development, where the façade and its relationship to the city is a central theme. These façade portraits are complemented by a series of photographs by the architect Philip Heckhausen, which show the completed buildings in their urban surroundings, alongside images of other urban situations that have influenced the practice’s approach. Together, they make a collection of urban situations, in between which the Caruso St John buildings emerge at a second glance. In the centre of the room is a large bench, whose patterned seat is a reference to the elaborated surface of urban piazze. – Adam Caruso and Helen Thomas

Alberto Ponis

Yacht Club Path, Gallura, Sardinia, 1965

Alberto Ponis, Yacht Club Path with Annarita

I sometimes paint and draw subjects which are not architecture so I have the pleasure of drawing something which has the combination of geometric and informal lines. What Italo Calvino calls the crystal and the flame – the straight line and the free one – the combination of these two elements in the Sardinian landscape is very frequent. The rocks and vegetation are very informal, extravagant, imaginative and then there are the straight lines of the horizon over the sea, and of the building lines. The combination of them gives this possibility of a structured drawing with a lot of free form but with a structure that nevertheless holds it together – a formal and informal partnership. That was a discovery in the Sardinian landscape that I found when I came and started working here. – Alberto Ponis

Mark Ericson

Onto an Epicycle of Cones

Guarino Guarini, from Architettura civile, 1737 IN SET

This drawing is part of a series that interrogates the orthographic drawing techniques of Guarino Guarini (1624–1683) set out in his posthumous treatise, Architettura civile, (1737). While some of the drawings from the series deal with the direct documentation of his orthographic drawings, this particular drawing translates his written and drawn instructions in the programming language of Python in the open-source platform of  The objective of the drawing and research in general, is to use historically and seemingly defunct modes of architectural drawing to reimagine digital tools. – Mark Ericson

Drawing Matter

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