Madelon Vriesendorp in Conversation with Sam Jacob

Disappear Here: Talking to Drawings, Episode 3

Adolfo Natalini, Superstudio sketchbook p1, DM 2141 IN SET

Bringing together material from the RIBA and Drawing Matter collections, the exhibition Disappear Here (RIBA, 2 May – 7 Oct 2018) explores the history, application and implications of perspective, how it spans truth and illusion, linking the disciplines of art, architecture and mathematics. In our podcast series, curator and designer Sam Jacob discusses with various guests the exhibition’s material and themes. The third episode sees Sam joined by Madelon Vriesendorp, artist and founding member of the Office of Metropolitan Architecture (OMA). 

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Richard J. Neutra

Richard Neutra, Experimental Unit of the Corona Avenue School, Bell, CA, 1935.

Richard Neutra, Corona Avenue School, 1935, DM 1279 IN SET

In 1942, plans and photos of the project played a central role in Elizabeth and Rudolph Mock’s panel show for MoMA on ‘Modern Architecture for the Modern School,’ which travelled to schools and community centres throughout the war to propose models of the free school for new defence communities and for the more expansive life anticipated in the postwar world. Mock’s text identified the Corona school as the first, pioneering model of an elementary school that reflected the new philosophy of child development and learning, ‘designed in relation to the child’s psychological as well as his physical needs… a place where the child can feel that he belongs, where he can move in freedom, and where he can enjoy immediate contact with the outdoors.’ – Nicholas Olsberg. 

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Dido & Aeneas

Saturday 29 September 2018, from 6pm

Shatwell Flyer short

The Lily Farm herd returns the morning after ... Dress for straw bale seating: bring rugs, cushions and furs. For more information on the Shatwell Project. For tickets to the Opera.

Behind the Lines 6

Richard Bentley, A Neo-Gothic Fireplace, possibly for Strawberry Hill, Twickenham, Surrey, 1754.

Richard Bentley, Neo Gothic Fireplace, 1754, DM 1397 IN SET

Musings finished, Bentley returned to the work at hand, strictly Gothic. He could not remember, after the disruptions of the last month, exactly which ‘old picture’ Walpole intended to incorporate into the chimneypiece. He thought it was a Tudor portrait. That could be sorted out at a later date, together with the measurements, but now the pinnacle thicket must be planned. He envisioned some fine ogee curves and lush crockets, a niche either side with a background of delicate tracery — more crockets there… a fine tudor arch over the fireplace — he was sure now the painting was Tudor, so he would suggest a ruffed female portrait in the drawing. He played with the idea of enclosing the painting in a larger cusped arch, but then on impulse decided to finish the upper part of the design with a good bit of brattishing composed of trefoils. Walpole was always partial to shrines and tombs. He vaguely remembered a long screed from Walpole a couple of summer’s ago describing a journey all over Kent and Sussex with Chute: tombs featuring largely — one at Hurstmonceux church ‘all in our trefoil taste, varied into a thousand little canopies and patterns’. – Philippa Lewis. 

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Drawing Matter

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