Medium: photograph
Drawing on Ideas
17.02.2025
Drawing on Ideas17.02.2025
In 1972, when Peter Eisenman’s House II was published in L’Architecture d’Aujourd’hui, the editors confused a photograph of the built work for an image of a model. The house was located in Southern Vermont, and had been shot from a low angle against a uniform grey sky with a snow-covered hillside… Read More
Protected: Broadcasting Time: Clock Drawings of the Norwegian Broadcasting Corporation
12.02.2025
Protected: Broadcasting Time: Clock Drawings of the Norwegian Broadcasting Corporation12.02.2025
There is no excerpt because this is a protected post.
Lisson 1 + 2
07.02.2025
Lisson 1 + 207.02.2025
LISSON GALLERY 1, 1986. Bell Street, London NW1 Tony Fretton, Michael Fieldman, Ruth Aureole Stuart. We were invited to discuss a new building for the Lisson Gallery. Meetings took place in the office of their existing premises, that the Director and his colleagues shared. To reach it you walked in… Read More
Sixty Metres, Sixty Degrees
04.02.2025
Sixty Metres, Sixty Degrees04.02.2025
This text is loosely based on the first part of my lecture ‘The Landscape Model,’ delivered at the Sverre Fehn-designed Hedmark Museum in October 2023. The lecture was part of the Sverre Fehn Symposium ‘Authoring Architecture in Time’ organised by AHO and the Hedmark Museum, and curated by Professor Mari… Read More
Richard Neutra at Drawing Matter
03.02.2025
Richard Neutra at Drawing Matter03.02.2025
– Editors and Nicholas Olsberg
Richard Neutra trained in Vienna, for a time under Karl Moser and Adolf Loos, did wartime service in Serbia, and spent six years working first in Switzerland with the landscape architect Gustav Ammann; then in Berlin—for the last two years as project manager for Erich Mendelsohn; and finally in Chicago… Read More
Buffington & Mies: Skyscrapers on Paper
31.01.2025
Buffington & Mies: Skyscrapers on Paper31.01.2025
The ‘skyscraper’ was conceived in Minnesota in 1871; its designer, LeRoy Buffington, described it in the patent he registered seventeen years later: ‘as a building having a continuous skeleton of metal, a covering of veneer, and a non-conducting packing between the skeleton and veneer.’ His innovation—which he struggled to defend… Read More
DMJ – Something in the Air: On the Atmosphere of a Lee Miller Photograph
16.01.2025
DMJ – Something in the Air: On the Atmosphere of a Lee Miller Photograph16.01.2025
Frontispieces are to do with storytelling and we find a curious example of this at the start of Humphrey Jennings’ posthumously published book Pandaemonium 1660–1886: the Coming of the Machine Age as Seen by Contemporary Observers. It is a photograph by Lee Miller of Jennings himself, a filmmaker, writer and… Read More
Notes on the Visionary Spaces Exhibition at the Belvedere 21
16.12.2024
Notes on the Visionary Spaces Exhibition at the Belvedere 2116.12.2024
I arrive at the Belvedere 21 after visiting Walter Pichler’s famous farmhouse in Sankt Martin an der Raab, only a few days prior—it is a stiflingly hot day in Vienna and for some reason, I have chosen to walk. I arrive at the Belvedere 21 to attend the Visionary Spaces exhibition that showcases some of Walter Pichler’s works in… Read More
The Improvising Bouwmeester,* or: How Raymaekers’ Buildings Got Built
05.12.2024
The Improvising Bouwmeester,* or: How Raymaekers’ Buildings Got Built 05.12.2024
– Arne Vande Capelle, Stijn Colon, Lionel Devlieger and James Westcott
The following text first appeared in Arne Vande Capelle, Stijn Colon, Lionel Devlieger, and James Westcott, Ad Hoc Baroque: Marcel Raymaekers’ Salvage Architecture in Postwar Belgium (Brussels: Rotor, 2023), 168, 174-178. *Master builder, from the middle ages, responsible for materials, design, construction, workforce, and client liaison.[1] Raymaekers rejected the modern diminution of the architect’s… Read More
Impressions of the Siza Exhibition
02.12.2024
Impressions of the Siza Exhibition02.12.2024
When I was an architecture exchange student at Faculdade de Arquitetura da Universidade do Porto (FAUP), between 2000 and 2001, there was a legend you could knock at Álvaro Siza Vieira’s office door and end up working there as an intern—the equivalent of walking into Mount Olympus to collaborate with… Read More
Cedric Price: Parc de la Villette
18.11.2024
Cedric Price: Parc de la Villette18.11.2024
The following account looks into the drawing DMC 1438 related to Price’s Parc de la Villette competition entry, to quest for the modes in which this media object resituates his design approach of design for pleasure, not only as the evolution of his practice, but crucially as part of an… Read More
DMJ – Five Episodes from the History of Drawing Instruments
14.11.2024
DMJ – Five Episodes from the History of Drawing Instruments14.11.2024
Instruments of Building in Ancient Rome Vitruvius, writing in the first century BC, portrays being an architect (architectus) in ancient Rome as a daunting task. The knowledge of the architect, he notes, must encompass the understanding of geometry, engineering, optics, history, philosophy, astronomy, and even music and medicine. At a… Read More
OMA: Rem Koolhaas—Initiative
31.10.2024
OMA: Rem Koolhaas—Initiative31.10.2024
This is the sixth and final post, in the series titled OMA CONVERSATIONS. The series is the result of a collaboration between Drawing Matter and architect Richard Hall who, over the past two years, has conducted twenty-three in-depth conversations with key collaborators working with OMA during its formative years. Drawing… Read More
L’architecture des réalités mises en scene: (re)construire Disney
28.10.2024
L’architecture des réalités mises en scene: (re)construire Disney28.10.2024
Drawing Matter asked Fabrizio Gallanti, Director of the arc en rêve – centre d’architecture, for an informal commentary on the content and presentation of their current exhibition L’architecture des réalités mises en scene: (re)construire Disney, open until January 2025. We are arc en rêve. We do exhibitions. In Bordeaux, South-West of France.… Read More
DMJ – Devices of Dream-Like Precision: Tracing the Streets of Kyoto using Photogrammetry and Layered Drawing
24.10.2024
DMJ – Devices of Dream-Like Precision: Tracing the Streets of Kyoto using Photogrammetry and Layered Drawing24.10.2024
There have been frequent attempts to represent the city of Kyoto as a coherent whole, from the cloud-swept panorama of the 17th-century Rakuchu Rakugai zu (Scenes In and Around Kyoto) folding screen paintings to the digital diorama of the GIS-driven Virtual Kyoto Project. Whilst these portraits of the city have relied on… Read More
Photo City: How Images Shape the Urban World
11.10.2024
Photo City: How Images Shape the Urban World11.10.2024
A long time before the surge of the Internet and the diffusion of portable devices connected to it, seeping into our eyes incessant flows of images, the relationship of people to their surroundings was profoundly altered by photography, and then cinema. The carefully curated exhibition Photo City: How Images Shape the… Read More
Retreat and Commemoration: Heath’s Court, 1878–82 – Part 3
10.10.2024
Retreat and Commemoration: Heath’s Court, 1878–82 – Part 310.10.2024
This post concludes Nicholas Olsberg’s series on William Butterfield’s Heath’s Court project, the text of which is included in his new book The Master Builder: William Butterfield and his Times to be published by Lund Humphries in October 2024. ‘Sounding corridors’: entry and sequence The driveway brings us into a… Read More
Retreat and Commemoration: Heath’s Court, 1878–82 – Part 2
03.10.2024
Retreat and Commemoration: Heath’s Court, 1878–82 – Part 203.10.2024
This post continues with the second part of Nicholas Olsberg’s text on William Butterfield’s Heath’s Court project, included in his new book The Master Builder: William Butterfield and his Times to be published by Lund Humphries in October 2024. ‘Cycles of the human tale’: the library The elevation of the… Read More
OMA: Collaborators—Allies
30.09.2024
OMA: Collaborators—Allies30.09.2024
This is the fifth post, in a series of six, titled OMA CONVERSATIONS. The series is the result of a collaboration between Drawing Matter and architect Richard Hall who, over the past two years, has conducted twenty-three in-depth conversations with key collaborators working with OMA during its formative years. Drawing… Read More
DMJ – Sir John Soane’s Office
09.09.2024
DMJ – Sir John Soane’s Office09.09.2024
Sir John Soane’s drawing offices at Nos 12 and 13 Lincoln’s Inn Fields were the fulcrum of his practice between 1794 and his retirement in 1833. His unique surviving ‘upper’ office was restored in 2022–23. In this article, I will trace the history of the office and recount its use… Read More
Suddenly This View
05.09.2024
Suddenly This View05.09.2024
Suddenly This View begun as a series of architectural models and evolved into a collection of model photography. It is an ongoing project investigating everyday spaces, exploring how architectural models and their derivative creations can be used to convey spatial narratives. The subjects of Suddenly This View are everyday buildings… Read More
Wolkenbügel: El Lissitzky as Architect
02.09.2024
Wolkenbügel: El Lissitzky as Architect02.09.2024
– Richard Anderson and Markus Lähteenmäki
It was in a room without windows and walls of bare concrete, in the basement of one of the ETH buildings on its suburban campus in Hönggerberg Zürich, where I first heard about this book project from its author. Not another book on El Lissitzky, I remember thinking, when he… Read More
OMA: Big Competitions—Reorienting the Modern Project
29.08.2024
OMA: Big Competitions—Reorienting the Modern Project29.08.2024
This is the fourth post, in a series of six, titled OMA CONVERSATIONS. The series is the result of a collaboration between Drawing Matter and architect Richard Hall who, over the past two years, has conducted twenty-three in-depth conversations with key collaborators working with OMA during its formative years. Drawing… Read More
Protected: Torrentius, or The Visage of Time
07.02.2025
Protected: Torrentius, or The Visage of Time07.02.2025
– Pierre Chabard
There is no excerpt because this is a protected post.