Niall McLaughlin

Wandering Routes: Alzheimer's Respite Centre, Dublin

Niall McLaughlin, Alzheimer's Respite Centre, Dublin, 01

The idea of the Roman garden with different styles and different plantings associated with different times of the day was the sort of core idea of the project. In the bedrooms, you wake up looking into the orchard. In the main living rooms during the day, you go out onto a terrace and there is a garden. At breakfast time you are here. So you move around. And these funny coloured lines are – people with dementia, not all but most, have this very strong desire to wander. And the perfect thing is for them to be in the sociable centre making eye contact, connecting with each other, their minds being kept active and socialising, but there is a strong centrifugal desire to move off. And the purpose of this plan was designed in such a way that by moving off you move back. So whichever route you take will always bring you back to the social centre. – Niall McLaughlin, in conversation with Tina di Carlo and Olivia Horsfall Turner

Peter Howell

A. W. N. Pugin: St David's Church, Pantasaph 

A. W. N. Pugin, Sketch of interior of St David's Church, Pantasaph, Flintshire, 1851, DM 2727.3 IN SET

A. W. N. Pugin was brought in to give the church a ‘Catholic finish’. In August 1851 Lord Feilding wrote to him from Ischia, asking what the cost of the fittings would be...This letter is Pugin’s reply, dated August 28th. He writes that ‘the altars, the image of the Blessed Virgin, and the niche for the same’ are in the Medieval Court at the Exhibition, and that they are ‘the finest works we have produced in stone carving’. The font, pulpit and screens are ‘in a forward state’, the tiles will soon arrive, and three stone-carvers are at work. He had already sent the estimate for the fittings to Lord Feilding, and would go to see Lusson’s designs. The drawing shows the interior of the church in its splendour, with rood-screen, screens to the chapel at the east end of the south aisle, pulpit, and statue in niche. – Peter Howell

Freddie Phillipson

On Sketchbooks: Take Courage

Freddie Phillipson, 06 Amorgos, 17.08.2016

But equally it is through line drawing that perceptual sleights of hand really become possible. In line drawing, one can describe the transition from one territory to the next without awkwardness, allowing the drawing to evolve and continue across the page, sometimes creating an ambiguity between what is interior or exterior. All the lines are held in suspension on the white space of the paper. The time of the drawings is ambiguous. They are sunless or, perhaps, filled with light. This differentiated continuity I find intuitively truer to the cumulative order of our experiences –the interconnectedness of places, the topographies in which we situate ourselves – and simultaneously more open to reinterpretation through design. – Freddie Phillipson

Drawing Matter

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