Carl Laubin, a British-American architect turned full-time painter, has dedicated the last three decades of his professional career to the painting of architectural capricci, bucolic landscapes and portraiture. An architectural capriccio encompasses the imagined assembly of buildings across fantastic landscapes. Laubin’s choice of subject matter jumps between historical periods. What seemed chronological at first: Andrea Palladio, followed by Christopher Wren and Nicholas Hawksmoor, jumped to Neo-Classicists Claude-Nicholas Ledoux, Charles Cockerell, and Leo von Klenze, then to Edwin Lutyens, with Post-Modernist John Outram and Leon Krier thrown into the mix. Currently, Laubin is working on a capriccio of John Nash’s work. On average, these capricci require one-and-a-half to three years to complete, depending on how prolific the subject was, with time split evenly between the drawing and painting periods. Although the bulk of Laubin’s capricci focus on the work of historic designers, he has produced paintings that combine a multitude of contemporary architects. A Classical Perspective comprises architectural pieces designed by the winners of the University of Notre Dame School of Architecture’s Richard H. Driehaus Prize. Beginning with the Choragic Monument of Lysicrates in the foreground, the oil painting collages notable works by Robert A.M Stern, Demetri Porphyrios, Michael Graves, Abed-Wahed El-Wakil and Quinlan Terry, to name a few. Educated at Cornell University, Laubin describes his early painting as “a second, secretive life,” one conducted outside of Cornell’s then-rigid modernist education. Laubin graduated from Cornell with a B.A of Architecture in 1973, and subsequently decamped to England to join Douglas Stephen and Partners, Architects and Civic Designers (1973-1983) and later Jeremy Dixon/BDP (1984-1986). While working as an architect, Laubin painted in secret, waking at dawn to hone his craft before going to work. Seeing as how the production of capricci is a centuries-long tradition, Laubin cites a number of artists as influencing his style. To Laubin, Piranesi “was and remains an example of how to be liberated from the constraints of reality in creating an imagined world in a drawing or painting, and even how to be liberated from the constraints of drawing itself.” Canaletto’s grand paintings of Venice and London are firmly behind Laubin’s composition of urban scenes populated with bustling denizens. In his fantastical characteristics, the phantasmagoric visions of Joseph Gandy are plainly evident. While Laubin insists that there is no clear methodology to his process of creating a capriccio, he has a general approach to each project. The first step is the steady amassing of information on the subject matter. This initial creative moment includes the reading of primary and secondary sources, visiting individual sites, and sketching as much of the architect’s canon as possible. Subsequently, each sketch is collaged and re-collaged until a suitable format is found, representative of an architect’s professional timeline as well as the general hierarchy of their work. In creating the landscapes for his capricci, Laubin follows a recipe for a classical landscape given to him by postmodern architect John Outram. In Outram’s view, one always crossed a river or a bridge into a classical painting, and then ascended through various levels of civilization from cave dwellers, through agrarian societies, to urban areas, and finally places of worship at the highest point. In tandem with this formula, Laubin draws upon the landscapes surrounding individual sites and fuses them into the overarching collage of elements.
Posts tagged with "Christopher Wren":
[beforeafter][/beforeafter] What would a young William Penn, prolific planner and founder of Pennsylvania—and London native of the 1600s—make of his home town today? He would probably admire how the chaotic life of trade, slums and hackney carriage horses had been reigned in, but chances are, he wouldn't recognise a thing. On view now at London's Guildhall Galleries is Visscher Redrawn, an exhibition offering a view through Penn's eyes thanks to two panoramic views of London taken 400 years apart—from 1616 to 2016. [beforeafter][/beforeafter] Dutch artist Claes Jansz Visscher's staggering 6.5-foot-long depiction is taken from an elevated viewpoint in the city and sheds light on the how London looked prior to the Great Fire of 1666 which destroyed much of what is depicted. The image is even more impressive considering Visscher never set foot in Britain. Emulating Visscher, artist Robin Reynolds—who has actually visited London—has completed his own view of London, using the same vantage point as Visscher. London Bridge, for example, has changed dramatically. It's hard to think that it was once a bridge that was a lively place with shops and houses hovering over the Thames. In the foreground of the top view, just left of London Bridge (at the bottom of the picture), is Southwark Cathedral, which was spared by the 17th century conflagration. The cathedral might be the only recognizable architectural element that can be seen in the two views. St. Paul's Cathedral, below, had no such luck. A dominant gothic feature in the 1616 skyline, it was burned to the ground. Poking out, in the same location in Reynold's drawing, is Sir Christopher Wren's variant. [beforeafter][/beforeafter] Interestingly, after the Great Fire of London, Wren and the incumbent King Charles II had great plans for the capital. Wren drew on his experiences of Paris, envisioning wide boulevards to replace the narrow streets, though this was never realised as businesses were eager to remain in the same location. [beforeafter][/beforeafter]
Restored London. Building Design reports that after 15 years, St. Paul’s Cathedral in London is scaffolding-free. The £40 million project restored Christopher Wren’s masterpiece to its original glory in time for the cathedral’s 30oth anniversary. St. Paul’s will host a photography competition and display the winning selections in the cathedral crypt to celebrate its complete renovation. Artificial England. While China continues to be a hot spot for architectural and economic development, its many ghost towns lack permanent residents. The Infrastructurist exposes one of China’s English-inspired uninhabited cities, Thames Town, built in 2006 as part of Shanghai’s “One City, Nine Town” initiative at decentralization. The state-of-the-art $9 billion design draws tourists, but not residents. Trucks, not Tanks. At the United States Conference of Mayors, local government representatives vote to reallocate federal funds directed toward the wars in Iraq and Afghanistan for the improvement of American cities. The municipal leaders assert that the conflicts’ $126 billion per year budget would be better spend building urban infrastructure, employing civil servants, and supporting educational and family institutions. Mall City. City Watch LA evaluates Rick Caruso’s latest business proposition: running for public office. The billionaire developer envisions a new Los Angeles comprised of isolated communities each with its own shopping mall, a potential reality if Caruso wins the 2013 mayoral seat.
Wren's Dome. Some 300 years ago, Christopher Wren completed St. Paul's Cathedral in London. Now with today's modern icons transforming the city's skyline, the Telegraph pays homage to his lasting landmark amongst the new "Shards, Gherkins and distorted walkie-talkie-shaped skyscrapers." Green Mile High. The Editor-at-Large brings news that the USGBC has named Denver the "greenest" city in the United States with about 230 LEED registered or certified buildings. Two have earned LEED Platinum since 2010. Pike Park. StreetsBlog reports that construction has begun on permanent Pike Street pedestrian improvements to be completed this fall in Manhattan. The project replaces temporary materials DOT installed in 2009 to calm traffic along Pike and Allen streets. Shut Out. Reuter's has the list of the world's most (and least) livable cities ranked by the Economist Intelligence Unit. Vancouver topped the list (Harare, Zimbabwe came in last). No city in the United States managed to break into the top ten.