Posts tagged with "Drawing":

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Jean-Jacques Lequeu: Visionary Architect is a fantastical retrospective of expert draftsmanship

Although he never reached the fame of neoclassical contemporaries such as Claude Nicolas Ledoux and Étienne-Louis Boullée, French architect and artist Jean-Jacques Lequeu (1757-1826) remains a draughtsman of immense vision, from a turbulent era that witnessed the collapse of the Ancien Régime and the rise of Napoleon Bonaparte. Luckily, in the months leading up to his death, the artist bequeathed his vast collection of 800 drawings to the Bibliothèque Nationale de France, which launched the first retrospective Jean-Jacques Lequeu: Visionary Architect at the beginning of 2019. The show’s latest iteration at The Morgan Libary & Museum is the first in New York City and is a succinct and, truth be told, sublime survey. The exhibition includes sixty of Leqeue’s drawings and is curated by the Morgan’s Eugene and Clare Thaw Curator of Drawings and Prints, Jennifer Tonkovich. Lequeu was born in 1759 to a long line of master carpenters in Rouen, the provincial capital of Normandy. His early career began with accomplished studies at the Rouen School of Drawing followed by a string of urban planning and architectural commissions, and a migration to the imperial capital of Paris in the waning days of the Bourbon dynasty. Initial professional success and a multiyear pilgrimage to the customary landmarks in Italy ultimately fizzled, and Lequeu settled into the relative monotony of governmental bureaucracy. Perhaps as a creative outlet to deflect from hampered ambitions—not dissimilar from the architectural fantasist A.G. Rizzoli—Lequeu produced hundreds of pen and wash drawings ranging from self-portraits to invented landscapes populated by renderings of imagined buildings and monuments, many found in his quasi-handbook Civil Architecture. “One of the big takeaways, for me, has been despite the official recognition, and in the absence of any sort of validation, he continued to draw, to envision new worlds, and incorporate novel elements,” said Jennifer Tonkovich. “He never gave up his idiosyncratic vision.” The Morgan, with its flamboyant marble flooring and intricate classical detailing, is a fitting curatorial space for the show. The exhibition room is split between an outer and inner ring: The former introduces the subject with a series of self-portraits—mouth agape and jowls creviced—and largely follows the trajectory of his drawings of architectural manuals to spectacular renderings produced at night within the confines of a claustrophobic Parisian apartment. The quality of penmanship is impressive unto itself, but drawings such as Design for a Living Room at the hôtel de Montholon and the Apotheosis of Trajan highlight the profound depth of ancient architectural knowledge at Lequeu’s fingertips, with an acute syncretism of Greco-Roman, Persian, and Indo-Chinese influences. While the architectural drawings are demonstrations of vivid imagination, all remain rooted in the clear and calculated logic of profile, section, and plan. Not only are Corinthian orders and cenotaphs deconstructed into their composite parts—base, shaft, capital, and entablature—but the tectonics behind their engineering are legibly, and fantastically, expressed. Although the human body and erotic themes extend across Lequeu’s oeuvre, the center of the exhibition focuses on his works of more explicit playful sexual depictions. With the same level of detail applied to his architectural renderings, thighs and crotches are splayed and labeled, nuns lift their habits to reveal corseted breasts, and buttocks stand athwart. The timing of the exhibition is prescient in the current political moment—classicism is cast as a revanchist tool by reactionaries to reestablish Eurocentric cultural norms and artistic conformity. The retrospective’s response is an art historical broadside against that perception: “Lequeu is trying out ideas, exploring non-western forms, testing the limits of structures, experimenting with unorthodox decoration,” continued Tonkovich. “He is not bound by rules or convention, and the result is designs that are clever, mysterious, beautiful, and mystifying.” Jean-Jacques Lequeu: Visionary Architect  The Morgan Library & Museum 225 Madison Avenue Through May 10, 2020
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Getty Research Institute acquires collection of drawings and sketches by Lebbeus Woods

On Friday, the Getty Research Institute (GRI) at the Getty Center in Los Angeles acquired a two-part collection of drawings and sketches by Lebbeus Woods, the visionary American architect and Cooper Union professor that passed away in 2012. The acquisition includes 46 drawings from the architect's A-City and 4 Cities and Beyond projects (ca. 1982-1997), a body of work that, according to a statement from the GRI, "constitute[s] a powerful expression of Lebbeus Woods's mid-1980s critique of contemporary architecture and the urban environment," as well as a 30-page sketchbook (1986-1988) the New York-based architect produced during an extended visit to Los Angeles. Together, the illustrations demonstrate Woods' exquisite pen, ink and pencil draftsmanship, as well as his penchant for drawing daring or impossible structures. The acquisition was made with partial support from the Getty Research Institute Council with the hopes of providing scholars and researchers of architectural history an up-close look at Woods' creative process. “As a teacher who linked drawing to theory, Lebbeus Woods’ influence on generations of architects is difficult to overstate,” wrote Maristella Casciato, senior curator of architecture at the GRI, in a press release. The two-part collection completes the institute's collection of A-City drawings, following its previous acquisition of six in the series as a donation, and it also complements two other special collections previously acquired by the institute: Drawings for the Berlin Free Zone Project (1990) and Lebbeus Woods Journals, 1988–1997. “With these acquisitions," said Casciato, "the Getty Research Institute is the largest repository for Lebbeus Woods’ theoretical thinking on the city.” As of last Friday, the GRI now boasts an extraordinary collection of architectural documentation, including the extensive work of Archigram, John Lautner, and Rudolph Schindler. Aside from the Light Pavilion completed in 2011 in Chengdu, China, Woods' groundbreaking designs primarily exists on paper, making the recent acquisition by the GRI particularly significant.

Drawing Codes: Experimental Protocols of Architectural Representation, Volume II

Presented by the University of Miami School of Architecture and California College of the Arts / Digital Craft Lab Curated by Andrew Kudless and Adam Marcus Emerging technologies of design and production have opened up new ways to engage with traditional practices of architectural drawing. This exhibition, the second volume in a series organized by the CCA Digital Craft Lab, features experimental drawings by architects who explore the impact of new technologies on the relationship between code and drawing: how rules and constraints inform the ways we document, analyze, represent, and design the built environment.

Book Launch: Single-Handedly, Contemporary Architects Draw by Hand

We're launching Single-Handedly, a new volume that collects work from forty-three architects around the world who draw by hand. Join us for a book panel and reception at the Rizzoli Bookstore in New York City on Wednesday 05/08, at 6:00 pm. Author Nalina Moses, along with eight of the talented contributing architects, will be on hand to present their work, discuss why they draw by hand, and sign books. Open to all, no RSVP required. Sponsored by Princeton Architectural Press and Blick Art Materials
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Drawing show at The School of Architecture at Taliesin explores collaborative creation

Los Angeles–based artist and designer Hans Koesters unveiled an ongoing series of collaborative, improvised drawings at The School of Architecture at Taliesin in Scottsdale, Arizona. His project and exhibition, aptly titled Collective Consequences, shows what happens when a handful of people decide to draw simultaneously and unpredictably on one blank canvas.

Koesters began the project during a weekend-long drawing workshop at Taliesin West. There, he and his colleagues produced the “collective consequences” sketches by playing an adapted version of two drawing games, “Exquisite Corpse” and “Dot-the-Dot,” with groups of three to four students. The game taught students to analyze spatial relationships while responding to the ideas and design concepts of other artists.

The ink and graphite drawings that comprise the series are abstract, monochromatic, and influenced by basic elements of art and architecture, such as fine lines, intersecting planes, and intricate patterns. Koesters’s background and training in art and architecture allow him to merge the two disciplines as he and his colleagues put pen to paper to create this collection of bold, architectonic illustrations.

Collective Consequences The show is only available via a tour of Taliesin West The School of Architecture at Taliesin The Kiva 12621 North Frank Lloyd Wright Boulevard Scottsdale, Arizona Through May 12, 2019

Drawing Codes: Experimental Protocols of Architectural Representation, Volume II

​Presented by University of Virginia School of Architecture and California College of the Arts / Digital Craft Lab Curated by Andrew Kudless and Adam Marcus Emerging technologies of design and production have opened up new ways to engage with traditional practices of architectural drawing. This exhibition, the second volume in a series organized by the CCA Digital Craft Lab, features experimental drawings by architects who explore the impact of new technologies on the relationship between code and drawing: how rules and constraints inform the ways we document, analyze, represent, and design the built environment. Participants: Benjamin Aranda & Chris Lasch; Bradley Cantrell & Emma Mendel; Sean Canty; Madeline Gannon; Howeler + Yoon; MARC FORNES / THEVERYMANY; Ibañez Kim; IwamotoScott Architecture; Stephanie Lin; V. Mitch McEwen; MILLIØNS (Zeina Koreitem & John May); Nicholas de Monchaux and Kathryn Moll; MOS (Michael Meredith & Hilary Sample); Catie Newell; Tsz Yan Ng; William O’Brien Jr.; Outpost Office; Heather Roberge; Jenny Sabin; SPORTS; John Szot; T+E+A+M; Nader Tehrani; Maria Yablonina Curator Talk and Panel Discussion: Monday March, 25 at 12:00pm, Campbell Hall 153​
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Drawing Codes ironically gets the rules all wrong

Upon entering Drawing Codes, you might be struck by a sense of familiarity, as though everything looks somehow as it should. It’s comforting to be surrounded by beautiful drawings hung neatly in well-spaced, black-framed squares, little perfect windows into a collection of works by a close-knit circle of designers. But there’s also something unsettling in the comfort and familiarity of the exhibition—closing at the Cooper Union on February 23 and formally titled Drawing Codes: Experimental Protocols of Architectural Representation, Volume IIas though we are being sold something too slick, too friendly, too complete, as though everything’s been face-tuned, flattened into a collection that articulates a narrative without agonism or a predetermined history without contestation. The show’s brief itself leaves its subject quite open. In their introductory text, curators Andrew Kudless and Adam Marcus outline four prompts to consider the theme: code as generative constraint, code as language, code as cipher, and code as script. “Code” might encompass building regulations and energy standards, syntax and encryption, recipes and typologies. But an assumption underlies the brief that the project is really about computational code; the curators’ text opens with a comment explaining that emergent technologies have changed how we practice. This internal conflict of the theme—between its presumed meaning and purported openness—produces a collection that commits to neither. And while the curators’ prompt cleaves “code” open, Kudless and Marcus restrict the content through their own rules: square format, black and white drawings, only orthographic projection. These rules reference early digital aesthetics and we need look no further than to the Whitney’s concurrent show Programmed: Rules, Codes, and Choreographies in Art, 1965-2018 to see evidence of that history. There, works like Joan Truckenbrod’s 1975 Coded Algorithmic Drawing (#45), Manfred Mohr’s Band Structures studies from the 1960s-’70s, and Frederick Hammersley’s No Title (1969) lay out a coding style that persists in contemporary practice, as seen in that same show in works by Tauba Auerbach, Casey Reas, and Alex Dodge among others. By and large, the drawings in Drawing Codes are individually impressive and conceptually rich. They are beautiful and obtuse, like Projectors by MILLIØNS or Anomalous Corner by Studio Sean Canty or DoubleVision by IwamotoScott Architecture; they are funny and smart, like Another Circle GPS Plan by Aranda\Lasch or Twisted Concrete Codes by Tsz Yan Ng with Mehrdad Hadighi; they are unexpected, like Stephanie Lin’s Accumulated Error No. 41, which uses coding to explore the blurry boundaries between rendering and drawing through visual effect. Each of the drawings could be described individually, and each has a novel take on the brief—they display a range of talented designers who should be lauded for their work—but together, they become muddled into a quasi-similar set of too-tasteful objects that don’t illustrate the potential of the topic. They seem forced into a mold rather than freed to explore new territories. The show’s restrictions put the content into a curious double-bind: individual artist statements offer a posteriori rationalizations designed to satisfy the brief, while the brief itself seems built around a priori ideas about what a show about code (or drawing) might look like. For example, that the curators eradicated perspective (in order to ensure participants wouldn’t send renderings) precludes a reading of “perspective” as itself coded, rule-based, and programmable. It also means that some of the most exciting work in computation around deep learning, neural networks, and artificial intelligence, built around interrogating and constructing perspective,are off the table here. The rules of the exhibition are curiously conservative given the topic and are too aligned with a trend towards early computer graphics popular across schools and young offices today. The statements also draw attention to how responding to the brief becomes more rhetorical than generative. Together, the works read as a compilation of exceptions that demonstrate how adept we all are at bending a brief to our work. This makes it more difficult to identify dominant narratives or sub-narratives across drawings, less compelling as a portrait of code, and privileges the individuality of the authors over the ethos of the collective. And this collective is producing a tremendous amount right now. Many, if not most of the participants in the show (and in its first volume, which debuted at the California College of Arts in January, 2017) are part of an emerging generation of practices (in which my own studio is often a part) that often cohabitate in exhibitions, publications, biennials, and conferences. These platforms should be pushing us all to do better, to produce more critically, to learn from each other. The idea of this show is great. Its constraints, however, produce a condition where expectation limits the possibility of discovery or invention across the work. The show seems dedicated to reiterating things we already know about drawing, code, and each other, and rejects the ugliness of experimentation. Which made it nice to see V. Mitch McEwen’s Arduino Bot Print and Maria Yablonina’s The perpetual spline machine, both of which foregrounded haptic process over graphic order. The former, through producing a map of avoidance as the penguinbot tried to avoid retracing its steps on paper; the latter, through the creation of a solar-powered bending machine that produces splines as it collects whatever energy it can, like some tragic figure of a near-future Greek myth. In these cases, the format enabled and helped frame the works, which indicates the productive potential latent in the project. Ultimately the comfort of the show—its sanctioned and familiar take on the aesthetics of code, its politeness over an inclusive brief—is its greatest limitation. In the exhibition press release, the curators say that they want to explore the impact of “computation and code-based processes” on “conventions of architectural representation,” a clear, straightforward proposal for an exhibition that would be great to see. Without the exceptions, without the rules, and with a more open and inclusive attitude towards aesthetics not bound by known tropes but encouraged through expansive definitions of generative practice. Comfort, for all its comfort, is too safe to compel.

Drawing Codes: Experimental Protocols of Architectural Representation, Volume II

Emerging technologies of design and production have opened up new ways to engage with traditional practices of architectural drawing. This exhibition, the second volume in a series organized by the CCA Digital Craft Lab, features experimental drawings by architects who explore the impact of new technologies on the relationship between code and drawing: how rules and constraints inform the ways we document, analyze, represent, and design the built environment. Gallery Roundtable & Reception: Tuesday, January 29, 2019, 6:00pm with Dean Nader Tehrani, Curators Andrew Kudless and Adam Marcus, Sean Anderson, Michael Young, and contributors to the exhibition.
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Instagram account juxtaposes classic facades of international landmarks

Christian Fankhauser, a recent graduate of Switzerland's École Polytechnique Fédérale de Lausanne, spends much of his spare time drawing facades from different periods, movements, and countries, and he has made a colorful Instagram account that has become a sort of repository of architecture across history. Through sketching a broad range of architectural landmarks, Fankhauser hopes to compare their common elements and stylistic lineage. To better understand the commonalities between structures, Fankhauser attempts to “remove the idea of scale, materiality, and paradoxically color, to focus on the proportions, the geometry, and the link between the elements constituting the facade.”

For the sketches, Fankhauser turns back toward Renaissance architecture, with a preference for buildings that began with the facade as an outward projection of the patron or owner’s prestige. Projects sketched by Fankhauser range from the 15th to the 20th centuries. Renaissance works, such as Leon Battista Alberti’s Santa Maria Novella (1458) and Andrea Palladio’s Villa La Rotonda, are simply etched; Ionic, Corinthian, and Doric orders are clearly discernible without the florid animation of flowing acanthus leaves or spiraling volutes. Similarly, the drawings forgo the play of light and shadows that define these Early Renaissance works; porticos, colonnades, and alcoves, are two-dimensional elements of the same shade and color as the rest of the assemblage.

The purpose, or methodology, of the sketches crystallize’s with structures of greater height and asymmetrical massing. Under normal circumstances, one is hard-pressed to find similarities between Giles Gilbert Scott’s Battersea Power Station (1939 & 1955) and Mimar Sinan's Süleymaniye Mosque (1558). Compressed into a smoothly digestible format, the towering smokestacks bear a similarity to the spiked minarets of Istanbul’s largest mosque, albeit with a boxier and less staggered base. This approach does veer in a slightly different direction with the playfully drawn renditions of Neo-Futurist designs such as Kisho Kurokawa’s Nakagin Capsule Tower (1972) or Archigram’s Walking City (1964).

Going forward, Fankhauser intends to catalog his sketches into a larger book and potentially introduce lithographic prints. More of his sketches are available on his Instagram page.

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Process comes to life in Berlin architectural drawing show

The exhibition Opening Lines: Sketchbooks of Ten Modern Architects features selections from one of the world’s great architecture drawing collections installed in the most important gallery devoted to the subject. The exhibit at Berlin’s unique Tchoban Foundation is spectacular for anyone interested in architectural drawing and its relationship to the larger built and unbuilt culture. The drawings are from Drawing Matter, the personal archive of Englishman Niall Hobhouse (a few works from other collections were donated for the show), which is normally housed in the Somerset countryside of England. In Berlin, it includes 80 drawings and 140 sketchbooks, films, audio interviews, virtual, and analog facsimiles. The collection is still being actively assembled by Hobhouse who with the intellect and trained eye of an art dealer collects drawings that represent key projects from the most important architects. The archive specializes in early drawings, particularly extended notebooks of master designers like Peter and Alison Smithson, James Gowan, Aldo Rossi, the Italian Radicals of the 1960s, and Álvaro Siza. The collection could itself be a stand-alone architecture drawing museum, but for this Tchoban edition Hobhouse and curators Tina DiCarlo and Olivia Horsfall Turner have selected renderings, working drawings, theoretical sketches and doodles from Hans Poelzig, Le Corbusier, Alberto Ponis, Adolfo Natalini of Superstudio, Álvaro Siza, Tony Fretton, Marie-José Van Hee, Peter Märkli, Níall McLaughlin, and Riet Eeckhout. The range and depth of the Drawing Matter collection allows the exhibit to begin with a magnificent swirling and vibrating 1922 Hans Poelzig charcoal sketch for a monument in a university courtyard. This charcoal is a more spirited example of the possibilities of expressionism than any of his earthbound buildings. In fact, many of the drawings in the exhibition help us better understand their resulting built works either because their construction masks their intentions or possibly misses the mark of the drawn idea. Peter Märkli’s 1992 ballpoint sketch for La Congiunta, fleshes out the intentions of his building, which in its extreme concrete soberness can seem like little more than a Swiss box without knowing or seeing the drawing. A confident 1986 Tony Fretton ink sketch for a door jamb in the Lisson Gallery highlights the thought and intention behind his minimal aesthetic which again can easily fall away for the inhabitant of the building. But it is with a vitrine of multiple sketchbooks by Adolfo Natalini, opened to a series of his 1969 ink drawings of the Continuous Monument, where we can truly see the open-ended, discursive potential of drawing. It shows the evolution of ‘monumenta continua’ from its inception as town planning for a scaled ring around Florence to its first public presentation in Grazerzimmer (room of Graz) to a furniture concept and then a hovering structure over the cityscape of Manhattan. Hand drawings were the primary tools of the architecture debate in 1969 when he co-created Continuous Monument and it is impossible to comprehend the power of these images at the time they first appeared without seeing these sketchbooks. The possibilities of sketching, even doodling, as thinking are highlighted by Niall McLaughlin’s colored felt-tip pen drawings of the Alzheimer’s Respite Centre which are framed in the shape of a brain. In McLaughlin’s drawing and handwritten text on view we can see his brain thinking out the possibilities of an architecture for the Alzheimer’s facility. The exhibition returns to contemporary architecture drawing when it is more art than architecture. A nearly three-foot-long 2018 graphite drawing on film Drawing Out Gehry by Riet Eeckhout is draped over rods on the wall as if it were from Gehry technologies and seems more installation than usable working drawing. This final hand drawing is meant to present the notion of the long digitally produced continuous surface as a replacement for the old-fashioned sketchbook. The exhibition is accompanied by a series of online articles online and by monographic publications on the sketch practices of Álvaro Siza, Adolfo Natalini, Tony Fretton, and Niall McLaughlin. The Natalini text explains the power of the architectural drawing:
I approach a project from several sides, each time engaging in a full body contact with the place, the program, and the limits. The weapons I have available in this battle (which is more like Jacob’s wrestling with the angel or a battle of love) are few, and among these drawing is the most important. Drawing allows me to be a lot quicker, and at the same time, it forces me to stay rooted to the page and the project for long periods…Drawings produce other drawings and these, other drawings again, and in this way, gradually the labyrinth appears and project emerges.
Opening Lines: Sketchbooks of Ten Modern Architects Tchoban Foundation. Museum for Architectural Drawing, Berlin June 30–October 7
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In Venice, Chinese studio reimagines Frank Lloyd Wright's Broadacre City as an e-commerce hub

Frank Lloyd Wright proposed the revolutionary suburban utopia Broadacre City in the 1930s. He could not have expected it to inspire artists designing the campus of an online shopping website in China more than eighty years later. China-based Drawing Architecture Studio exhibited a series of panoramic drawings called Taobao Village – Smallacre City at the Venice Architecture Biennale this year, which is a speculative design for the headquarters of Taobao, a Chinese consumer-to-consumer retail platform that garners 580 million monthly active users. Drawing Architecture Studio is a Beijing-based art, architecture and urban research practice cofounded by architect Han Li and designer Yan Hu. In Broadacre City, Wright envisioned that American cities would no longer be centralized and limited to a central business district. Instead, families, each given a one-acre plot of land, would be self-sufficient households commuting mostly with the automobile. His concepts are especially relevant today in China where the rural and urban divide highlights many problems of inequality and inefficiency. The Chinese drawing studio combines Wright’s ideals and a fresh perspective from modern China. The masterplan of Broadacre is used as the basis on which the village of Taobao, the Alibaba-owned, popular e-commerce website, is imagined. According to the architects, their proposal tries to speculate how Taobao and the Internet will contribute to China’s goal to integrate urban and rural economies. The village consists of transport infrastructure and distribution networks of the online shopping empire. Bridges, roads and conveyer belts cross over and intersect each other, constructing a layered, lively cityscape enclosing both the enterprise and the rural-urban complex. The illustrations employ elements from both the East and the West. The composition of the village is symmetrical and organized along a straight axis, recalling the organization of Beijing’s Forbidden City. Eclectic, Western-classical building motifs used in rural Chinese villages alongside traditional Buddhist statues and Chinoiserie columns are depicted in the illustrations. The drawings are part of the exhibition titled Building a future countryside in the Pavilion of China at the Venice Architecture Biennale.
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Sam Jacob presents the power of perspective with a new show at RIBA in London

With perspective comes power, and a fun-filled, quirky demonstration of this can be found in Disappear Here at the Royal Institution of British Architects (RIBA) in London, courtesy of British architect Sam Jacob and curator Marie Bak Mortensen. Disappear Here greets visitors with a vestibule of turquoise tones. Faux entrances, layered like a theatre set, recede in height and hue in a nod to the techniques employed by Renaissance painters who used light shades of blue to indicate depth in paintings. Before this, however, it was Florentine architect Filippo Brunelleschi who, in the 1400s, discovered linear perspective as a system of drawing and thus brought science and art in a collision that gave birth to the Renaissance. However, none of Brunelleschi's work is on display. Half a millennium after the Italian master's existence, Florence, his home town, had produced more architectural superstars: Cristiano Toraldo di Francia, Adolfo Natalini, Gian Piero Frassinelli, Alessandro Poli and brothers Roberto and Alessandro Magris who comprised Superstudio. The firm's work, earmarked by grid motifs, is featured throughout Disappear Here with two mirrored wells (great for peering into and taking a selfie), and two drawings: Un Viaggio nelle Regioni della Ragione (A Journey to the Realm of Reason) and Graz. The latter links up with a rare, albeit mediocre, perspective drawing done on the back of another—supposedly much more impressive piece—from Andrea Palladio. For one wall, Jacob and Mortensen's method was to marry drawings through their lines of perspective, imagining their continuation off the page. This link would be easily missed if not for an explanation in an accompanying leaflet, which also provides a tutorial on linear perspective drawing. Jacob, though, was excited by what he could do using this method of arrangement. "It's brought together works which should never belong next to each other," he told The Architect's Newspaper (AN). Case in point: a pair of trolls urinating into a castellated fountain, drawn by British architect John Smythson, sits below Superstudio's Un Viaggio nelle Regioni della Ragione, which in turn lies left of a sketch by Edwin Lutyens portraying an unrealized memorial in France. The eclectic trio of drawings makes for remarkable viewing, and the wall throws up some humorous examples of failed attempts at perspective representation, such as another drawing by Smythson, this time of a skew-whiff house. However, the arrangement system means Palladio's drawing is placed awkwardly high. For those taking their children, you can tell them not to lose sleep over missing out on this one. However, shift your gaze down, and you'll find that the baseboard is mirrored. This has the effect of making the floor seem like an infinite plane, an effect which is amplified by a grid of yellow dots that Jacob has added onto the floor. In another room, the fun for all ages continues. Fifty objects fly towards and past the viewer on three projections cast onto walls in front and on either side of you. The objects follow lines of apparent linear perspective and create the sensation of hurtling through a drawing. To Jacob, who worked with game developer Shedworks for the exhibit, "it feels like experiencing a drawing through time." Here, the impact would be far greater had projections filled the floor and ceiling or virtual reality headsets been used. Jacob told AN that he explored the possibility of using the latter, but in the end, decided against it. A final room presents a collection of six books on perspective drawing, all from RIBA's rare books collection. Abraham Bosse's Mr. Desgargue's Universal Method of Practicing Perspective (1648) is opened up to show a drawing of three figures looking down with pyramids coming from their eyes and making a square on the floor: a view of their perspective, so to speak. Jacob, when showing AN around Disappear Here, argued that this depiction of perspective mimics the view from a modern-day military drone. Sadly, this connection isn't made in the actual show, and other ties to more contemporary takes on perspective, besides the collaboration with Shedworks, are awry. Jacob and Mortensen's insight into the history of perspective, intertwined with quirky illusory tricks, fails to exhibit work of any contemporary architecture firms. Jacob, who is more than aware of contemporary architectural techniques of representation, particularly collage, even noted that a few pasted people could turn one drawing into a typical piece from Portuguese firm Fala Atelier or architects Point Supreme from Greece. For all the allusion to progressing off the page and into the infinite, the supposed "power" of perspective, well documented in an essay by Jacob found inside the exhibition's leaflet, is also found wanting. Aside from the discombobulating decor, which does make Disappear Here fun to navigate, French architect Étienne-Louis Boullée's fantasy cathedral (see lead image) is the only piece that shows audiences the awe-inspiring power of scale and perspective at work. Superstudio's arguably most famous conception, Il Destino del Monumento Continuo (Destiny of the Continuous Moment), would fit nicely here. It, along with other works from Superstudio and other Italian radicals of the era, however, can be found at the Canadian Center for Architecture in Montreal where Utopie Radicali: Florence 1966–1976 is currently on view. For more exercises in disorientation, Sean Griffiths, a co-founder alongside Jacob of now defunct British studio FAT, has also been exploring perspective techniques in London and Folkestone.