Martin Bressani on Viollet-Le-Duc

Eugene Immanuel Viollet le Duc, Mont-blanc,

Viollet-le-Duc claims that, as the Alpine mass progressively shrank (through cooling) and eroded (through the action of glaciers), it left higher and stronger ridges, therefore revealing the rhombohedral prismatic crystalline pattern that structures it. The diagram on the left outlines the basic rhombohedral crystalline system (cut in half), with its principal planes and subdivisions, while the drawing on the right demonstrates through a specific example (the remnant peaks towards Blatière in the Vallée Blance as seen from the Tacul) how the erosion, or general ruination of Mont Blanc follows this regular system. 

Tony Fretton: Lisson Gallery

Fretton 6

In this publication, Tony Fretton has made a selection from the two sketchbooks he kept during 1991 and 1992 of the drawings that represent his thinking while working on the design for the second stage of the Lisson Gallery in Lisson Grove, London. His project for the gallery emerged from his performance art practice, and came at a time and in a way that allowed him to develop an ethos for his architectural work. These insights have continued to contribute to more recent buildings in which the public is invited to interact with works of art, both formally and informally. The quite specific approaches of modification and response that the conditions of the Lisson project inspired have served as a kind of metaphorical model for an architecture that, over time, becomes more robust as it absorbs both changes in expectations and uses, and transformations in the surrounding human or physical landscape. FREE IBOOK

Elizabeth Hatz: Permanence

Elizabeth Hatz, Permanence artefact: 3-window axis relation, 2002-4 IN SET

These drawings are made with thick pencil on lump paper over many hours. They slow down time directly and efficiently, as a repetitive incantation. Only when time is slowed down sufficiently can the hasty eye and erring mind catch up with the sluggish wisdom of the body. An infinite array of repetitive graphite lines, running obsessively like an adjuration over the paper and building eventually a surface mass of graphite, like shiny metal, essentially charcoal-based, like the core of the earth: iron. If observed closely, each curvy line is distinguishable, yet nailed as a figment in the solidity of the drawn matter. The drawing is nearly built.

Drawing Matter

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