Land Marks at Hauser & Wirth: Exhibition Talk

Land Marks, Hauser and Wirth PHOTO 1 IN SET – Drawing Matter

Installation view. Courtesy of Hauser & Wirth Somerset. Photo: Ken Adlard

Land Marks, Hauser and Wirth PHOTO 2 IN SET – Drawing Matter

Installation view. Courtesy of Hauser & Wirth Somerset. Photo: Ken Adlard

Land Marks, Hauser and Wirth PHOTO 3 IN SET – Drawing Matter

Installation view. Courtesy of Hauser & Wirth Somerset. Photo: Ken Adlard

Land Marks, Hauser and Wirth PHOTO 4 IN SET – Drawing Matter

Installation view. Courtesy of Hauser & Wirth Somerset. Photo: Ken Adlard

Land Marks, Hauser and Wirth PHOTO 5 IN SET – Drawing Matter

Installation view. Courtesy of Hauser & Wirth Somerset. Photo: Ken Adlard

Land Marks, Hauser and Wirth PHOTO 6 IN SET – Drawing Matter

Installation view. Courtesy of Hauser & Wirth Somerset. Photo: Ken Adlard

Land Marks, Hauser and Wirth PHOTO 7 IN SET – Drawing Matter

Installation view. Courtesy of Hauser & Wirth Somerset. Photo: Ken Adlard

Cedric Price, Competition entry for Parc de la Villette, Paris, 1982 DM 1438 IN SET – Drawing Matter

Cedric Price (1934–2003), Competition entry for the Parc de la Villette, Paris, 1982 – 1983. Lithograph on paper with painted mylar overlay, 350 × 465 mm.

Michael Graves Vacation House – Drawing Matter

Michael Graves (1934–2015), Vacation House, Aspen, 1978. Black ink, pencil and colour crayon on tracing paper, 280 × 355 mm.

Adolfo Natalini, study for exhibition poster, 1972 DM 2078 IN SET – Drawing Matter

Adolfo Natalini (*1941), Meteor Crater, Arizona: study for an exhibition poster, 1972. Overdrawn print, 840 × 625 mm.

James Wines, Perpetual savings and loan bank, SD DM 1644 IN SET – Drawing Matter

James Wines (*1932), Perpetual Savings and Loan Bank, South Dakota: side elevations, aerial perspective and cross-section, 1980. Pen on wove paper, 475 × 605 mm.

John Lautner, Ewing house semi-circular, LA, Site plan DM 1836 IN SET – Drawing Matter

John Lautner (1911–1994), Scheme for semi-circular house raised on concrete piers for the artist Edgar Ewing on Mt Washington, Los Angeles, 1952. Print with colour wash and crayon, 525 × 770 mm.

Frank Lloyd Wright, Eaglefeather drawing, 1940, DM 1298 IN SET – Drawing Matter

Frank Lloyd Wright (1867–1959), Drawing for the 'Eaglefeather' estate for Arch Oboler in the Santa Monica Mountains, 1940. Graphite pencil and colour pencil on tracing paper, 559 × 900 mm.

Alvaro Siza, Malagueira study in sketchbook, ca 1977-80 DM ? IN SET – Drawing Matter

Álvaro Siza (*1933), Study in sketchbook, Malagueira, Portugal, c. 1977 – 1980. Pencil on paper.

Flaminio Innocenzo Minozzi, Drawing from Vaudoyer 1, DM 1235 IN SET – Drawing Matter

Innocenzo (Flaminio) Minozzi (1735–1817), Project for a 'Maison d'un Cosmopolite', 1788. Pen and sepia ink with brown wash on paper, 169 × 234 mm.

Flaminio Innocenzo Minozzi, Drawing from Vaudoyer 2, DM 1236 IN SET – Drawing Matter

Innocenzo (Flaminio) Minozzi (1735–1817), Drawing copied from those for Vaudoyer's 'Maison d'un Cosmopolite', 1788. Pen and brown ink with red and brown wash.

Laurent Thomas Vaudoyer, Preliminary study for Maison d'un Cosmopolite, 1782, DM 1460 IN SET – Drawing Matter

Antoine-Laurent-Thomas Vaudoyer (1756–1846), Preliminary Study for the 'Maison d'un Cosmopolite', 1782. Ink, pencil and washes on paper, 115 × 242 mm.

Hermann Finsterlin, Study for playhouse, 1930, DM 1042 IN SET – Drawing Matter

Hermann Finsterlin (1887–1973), Study for a playhouse, c. 1913. Pencil and watercolour on paper, 470 × 320 mm.

Ugo La Pietra, House of a Sculptor, 1962, DM 2007 IN SET – Drawing Matter

Ugo La Pietra (*1938), House for a Sculptor, 1961. Charcoal on paper, 250 × 350 mm.

Zund-up, Photomontage from Erotic Architecture, 1969, DM 2126.1 IN SET – Drawing Matter

Zünd-Up (*1967), Photomontage from the series Erotic Architecture, 1969. Photomontage.

Michael Webb, Sin centre car ramp, perspective, 1962, DM 1101.7 IN SET – Drawing Matter

Michael Webb (*1937), Sin Centre, Leicester Square, London, isometric of car ramp, c. 1965. Pencil and graphite on airbrush board, 410 × 530 mm.

John Hejduk, Bye House study, c. 1973, DM 1801 IN SET – Drawing Matter

John Hejduk (1929–2000), Study for the 'Bye House', Ridgefield, Connecticut, c. 1973. Black, green, blue and red ink on letterhead, 210 × 270 mm. © Estate of the architect.

Ludwig Mies van der Rohe, Photomontage for Glass Skyscraper, c1922, DM 1295 IN SET – Drawing Matter

Ludwig Mies van der Rohe (1886–1969), Glass Skyscraper Project (no intended site known), c. 1922. Gelatin silver print, 393 × 293 mm.

Ludwig Mies van der Rohe, Photomontage for an office building, 1928, DM 1086 IN SET – Drawing Matter

Ludwig Mies van der Rohe (1886–1969), Project for a bank and office building for Stuttgart's Hindenburgplatz, today's Arnulf-Klett-Platz, 1928. Print of a photomontage, 166 × 233 mm.

Carlos Diniz, Three renderings from a print portfolio for the World Trade Center, NY, 1963, DM 2089 IN SET – Drawing Matter

Carlos Diniz (1928–2001), Three renderings from a print portfolio for the World Trade Center, 1963. Print. © Estate of Carlos Diniz.

Carlos Diniz, Three renderings from a print portfolio for the World Trade Center 2, NY, 1963, DM 2089 IN SET – Drawing Matter

Carlos Diniz (1928–2001), Three renderings from a print portfolio for the World Trade Center, 1963. Print. © Estate of Carlos Diniz.

Carlos Diniz, Three renderings from a print portfolio for the World Trade Center 3, NY, 1963, DM 2089 IN SET – Drawing Matter

Carlos Diniz (1928–2001), Three renderings from a print portfolio for the World Trade Center, 1963. Print. © Estate of Carlos Diniz.

Just like a sculpture by Donald Judd charges the space around it and talks as much about what is surrounding it, so architecture can charge the landscape around it.

– Nicholas Olsberg