Herbert Matter

Herbert Matter, Design proof for Arts&Arch cover, Jun 1945, DM 2914.1 IN SET

More significantly, Herbert Matter's abstract architectural framework is organised from the viewpoint of the two case study houses (no 8, a home and studio for the Eameses, and 9, a residence for Entenza), which the Eameses and Eero Saarinen were developing at the time. The case study programme was designed for the real world. Each of the projects had a known site, a committed client, and the full specifications for construction, finish and furniture; and indeed most were built and opened for public view within a few months of the design appearing in the magazine. Hence the stand of eucalyptus on the cliff above the ocean is taken from a photograph on the actual site of Case Studies 8 and 9, presented more or less exactly at the distance the trees would be seen through the glass wall to the west of the Entenza house. – Nicholas Olsberg

Royal Exchange

CR Cockerell, Competition entry for Royal Exchange, 1838, London Met Archive IN SET

Gwilt believed Cockerell’s proposal to be ‘a design of great external architectural magnificence’. Despite this magnificence, however, Gwilt noted that due to the height of the building and the size of the roof light, ‘no more than 2/3 of the Court[yard] could be treated with Sun’s Ray’. In order to calculate this, Gwilt produced a small cross section of the courtyard. Drawn with a rough and inconsistent pen, this drawing is a proof in the pursuit of truth. Unlike Cockerell’s drawing, which offers an idea of the space rather than an empirical depiction, Gwilt’s section is analytical, abstract, and critical. There is a conversation occurring between Cockerell and Gwilt’s drawing. – Matthew Wells

Victoria Street

Patrick Lynch and Hilary Koob-Sassen, South Facade, Victoria Library with muses, 2011 IN SET

Drawn as a series of more or less public rooms, the interiors and thresholds of Westminster reveal the interpenetration of rituals and theatrical life into almost every aspect of city life there. In this landscape of playing surfaces the ludic character of civic culture is evident in the recurrence of the festive gate as an architectural trope – from the façade of Victoria Station (a quasi City Gate) to the baldacchino in Westminster Cathedral, to the proscenium arch that frames both inner and outer faces of the Victoria Palace Theatre. The city appears as physiognomic silhouettes, armatures, bodily faces, and as a network of horizontal and vertical stage sets, set up for the drama of urban life. – Patrick Lynch

Drawing Matter

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