Posts tagged with "Hand Drawing":

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New York gallery displays hand-drafted architecture drawings

For those of you who still cherish "hand-made" architectural drawings, there is a small jewel of an exhibition to be enjoyed at the Victoria Munroe Fine Art gallery on view through July 12. The show spans a broad range of studies, plans, and designs as well as land surveys from the 18th through the 20th century. The majority of the drawings of gardens are elegant Italianate designs primarily by French hands. One Hugh Ferris study of the Scientific American building (24W 40th Street) is a standout, looking positively expressionist next to the crisp detailing of the earlier works. Perhaps the most beautiful are the engineering plan details, by Jules-Germain Olivier. In his "Details de la Ferme" (1905) executed in watercolor, the disposition of the parts across the page, delicately rendered, makes the drawing seem contemporary, resembling a Walter Pichler in its minimal descriptive sensibility. His Racetrack Field House presents a more traditional 19th-century rendering of a classical plan with a nod to Chinese detail. Set against the more sophisticated images is the Lyver Land Survey from 1779, map-like in its structure but with a flair for the decorative. Architecture & Gardens: 18th, 19th and Early 20th Century Works on Paper May 7–July 12, 2019 Victoria Munroe Fine Art 67 East 80th Street #2 New York, NY 10075

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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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 the Met's Michelangelo show, drawing is not just a medium, but a means for thought

This has been an exhilarating year for those who cherish drawings. Following on the heels of the marvelous Thaw collection last fall at the Morgan, the Metropolitan Museum of Art’s winter season opened with an extravagantly wonderful exhibition of Michelangelo drawings and designs, Michelangelo: Divine Draftsman and Designer. The show, which was sponsored by Morgan Stanley and was open from November 13, 2017 to February 12, 2018, consists of 133 drawings, sculpture, and a replica of the Sistine Chapel, each requiring scrutiny and contemplation, which isn’t easy given the crowds. Many years of intense scholarly study by Carmen C. Bambach, curator in the Department of Drawings and Prints at the Met, has culminated in a wide-ranging survey of the artist’s work, his mentors, and students. Besides offering what seems like an endless sequence of exciting images, the show highlights some important issues, not the least of which is the current devaluation of the medium as a means of visualizing and understanding the world we inhabit. While it disappears from our academies today, during Michelangelo’s day, drawing was just becoming a significant component in art and culture in the mid-15th century. The Accademia delle Arti del Disegno in Florence had just opened, and within its program, drawing assumed an important position alongside architecture, sculpture and painting. Also, the “finished drawing’ was highly prized and its worth accrued if given the designation, “dalla sua mano” (by his very hand). Alexander Perrig, in his book on Michelangelo’s drawings, Michelangelo's Drawings: The Science of Attribution, eloquently describes the emergent tendency to value the evidence of a personal language and unique vision: He writes: “But drawing is not a bone displayed for veneration. It embodies a piece of the imaginative world of its creator.” This show charts the development and range of Michelangelo’s vision. We enter his tortured, anxiety-ridden world and find that the work seems to speak to our historical moment despite the centuries that separate us, for they offer powerful insights into the human condition. And it is through the intimate touch–hand to paper–that these sights and insights are given form. Exhibitions focusing on drawings help keep the idea alive that drawing cannot be supplanted by the digital rendering. While there might be some overlap, each is capable of accomplishing different tasks in different ways. Personal finished drawings were precious then. Michelangelo gave them as heart-felt gifts to dearest friends–a gesture that wasn’t valued in monetary terms, but rather appreciated as a sign of intimacy and friendship. As Bambach discusses each of the works in the show, she addresses the contested drawings and throws her hat into the ring siding with one or the other Michelangelo scholars and connoisseurs based on her system of observation and physical evidence. The contention over the attributions of drawings by Michelangelo has a long history of scholarly literature and many unsolved problems remain. The enormous weight given to this discussion provokes a question: Why is attribution so important? Too often authentication serves to enhance value. But it is of great significance according to Perrig, who has disattributed a great number of generally accepted works. “Every misattribution tends to distort historical reality as a whole by imputing to an artist someone else’s thoughts…it saddles the creativity of the assumed creator with contradictions that did not exist, and at the same time makes the art of the actual creator appear more one-sided and insignificant than it actually was.” The exhibition proposes a broad definition of drawing as a medium but also as a means for thought. The wonderful book produced for the exhibition, written by Bambach with essays by Claire Barry, Francesco Caglioti, Caroline Elam, Marcella Marongiu, and Mauro Mussolin, does much to extend our notion of what constitutes drawing. It categorizes the many applications:  sketches, finished and unfinished drawings (a theme explored somewhat murkily in the recent exhibition Unfinished: Thoughts  Left Visible at the Met Breuer, drawings from wax models, presentation drawings, “modani” or full-scale templates, drawings for painters such as Pontormo, to execute and the architectural plans–each distinct in its application while sharing a common hand and concept-driven project. The exhibition also provides insight into the artist as a teacher. In the hand-written notes that appear on the drawings, we see Michelangelo prodding and encouraging his students. Their studies are punctuated by his urgings to “draw!” and to “be patient.” The attribution dilemma is complicated by these student drawings, some of which attained a level sufficiently sophisticated enough to confuse many scholars. The illusionistic architectural elements, such as the structure of the Sistine Chapel, offer insight into Michelangelo’s emplacement of figures. The “quadro” or designated setting was a means for both isolating and connecting the narrative. It deployed a system entirely different from the pre-Renaissance predellas which consisted of a large iconic image resting on a series of small, distinct panels that carried a thematic narrative. These isolated, elaborated altar-like structures appeared like out-scale objects to heighten faith. Instead, Michelangelo contrived an entirely novel system by melding an illusionistic architecture based on while deviating from the actual one. This structure or invented “architecture” established a realm for the figures to inhabit and in many cases against which they appeared to struggle. The result was a kind of total design, revolutionary in its time. Mauro Mussolin’s useful essay finds a evidence of this approach even in such details such as the corner volutes in the Laurentian library, that he finds key to understanding Michelangelo’s ability to contrive an organic unity. These details attest to his ability to visualize the projection of space and his stunning visual memory. Adding to this notion, the late Leo Steinberg includes a temporal element in his design process, in his discussion of Michelangelo’s last painting, “On the deepest level of Michelangelo’s visual thinking, the meaning of the historical occasions as a rite of foundation and an affirmation of faith is expressed in the tectonic character of the design.” It is an arduous task to sum up grand exhibitions of this sort–a delight to the eyes and to the spirit. It is a profound reckoning not to be missed.
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2016 Best of Design Award for Architectural Representation > Digital: Nine Drawings, Seven Models

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it’s grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you. 2016 Best of Design Award for Architectural Representation > Digital: Nine Drawings, Seven Models Architect: Nemestudio Location: (Conceptual)

Preparing for an installation titled Nine Drawings, Seven Models, NEMESTUDIO chose to present much of their recent work in one imaginary landscape, recalling the tradition of capriccio painting, in which architectural ruins are collected into an imagined place where they can be seen all together.

Honorable Mention, Architectural Representation > Digital: Breaking BIM

Architect: mcdowellespinosa Location: (Conceptual)

Breaking BIM explores a perceived shift from representation to visualization by probing whether architects can benefit from real time model feedback available from Building Information Models to further experimental design and new visualization objectives.

Honorable Mention, Architectural Representation > Digital: Pacific Aquarium

Architect: DESIGN EARTH Location: Clarion-Clipperton Fracture Zone, Pacific Ocean

As part of a forthcoming publication to help us understand environmental crises, Pacific Aquarium appropriates the aquarium to highlight the alarming distance between our self-focus and Earth consciousness. Each of the nine drawings presents a section of the ocean that reflects resource exploitation and climate change.

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Josh Lewandowski’s Year of Pointless Architectural Diagrams

Josh Lewandowski, Minnesota-based architect and founder of furniture design firm Nordeast Industries, is on a mission to create beautifully complex, yet utterly meaningless architectural diagrams. He has started a blog where he will post one meaningless diagram each day for a year. On September 7th, he launched Pointless Diagrams, where he publishes his most eccentric sketches inspired by his own perceptions of architecture, furniture, engineering, Legos, cereal boxes, and more. The doodles portray a series of illusory architectural illustrations and imaginary structures open to interpretation by its viewers. Having always drawn abstract 3D sketches of things, Lewandowski chose to create this blog in order to convey how useful these meaningless doodles end up being. Lewandowski studied art and architecture at the University of Minnesota, and received his Masters of Architecture from Yale University. According to Dezeen, it was there that one of his professors told him, “erasing is for wimps.” Inspired by this philosophy, the illustrations on his blog are drawn on acid-free paper solely with pen and ink. The drawings consist of a series of diagrams, arrows, figures and shapes that seem to portray some sort of logical relationship between things, but that are, in reality, merely un-calculated and spontaneous. Until next september, his blog will continue to chronicle his year-long attempt to draw one new, meaningless diagram daily, "just 'cause."
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On View> Urban Visions: American Works on Paper, 1900-1950

Urban Visions: American Works on Paper, 1900-1950 Indianapolis Museum of Art 4000 Michigan Road Indianapolis, IN Through September 30 An upcoming exhibition at The Indianapolis Museum of Art’s Alliance Gallery will explore the ways in which artists dealt with the rise of industrial modernization and urbanity. In the first half of the 20th century, rapidly changing cities served as inspiration for new portrayals of human expression within these new environments. “The spectacle of metropolitan life” is presented through 25 works from IMA’s print collection, including lithographs, etchings, and engravings from well-known artists such as George Bellows, Childe Hassam, Edward Hopper, Reginald Marsh, and Isabel Bishop. The exhibition will display the art alongside vintage construction photos from the Chicago and New York skyscraper boom, providing context for these early interpretations of the city. Pieces from lesser-known artist and architect Gerald Kenneth Geerlings, whose aquatinted technical drawings of the emerging cityscape highlight the juxtaposition of emotional romanticism and technological progress, will be on display at IMA for the first time since 1970.
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On View> Carlo Scarpa: The Architect at Work

Carlo Scarpa: The Architect at Work The Arthur A. Houghton Jr. Gallery The Cooper Union 7 E. 7th Street Through April 21 A collection of hand drawings and photographs of work by renowned postwar Italian architect Carlo Scarpa is on view for the first time in New York.  The exhibition depicts the conception and realization of two major works, the renowned Villa Ottolenghi (Bardolino, Verona, 1974–79) and the Il Palazzetto series of imagined interventions in a 17th-century villa (Monselice, Padua, 1969–78). Scarpa is renowned for his poetic expression of space through the use of materials and ornamentation, and visitors to the gallery will witness the architect’s development of spatial ideas through 22 original hand drawings of Villa Ottolenghi and 11 of Villa Il Palazzetto. Reproductions of historical photos taken of the Villa Ottolenghi before it was completed as well as recent and historical photos of Scarpa’s work at Villa Il Palazzetto are included, along with reproductions of his drawings for the Museo di Castelvecchio and the Museo Nazionale dell Arti del XXI secolo.  
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Quick Clicks> Brick Bane, Old School, The Digitals, & the Juried Judge

Not so Clean. White brick buildings, once favored in the 50s and 60s for their shiny glaze and supposed waterproofing and self-cleaning benefits, are now a costly headache for New York City, reported the NY Times. The glaze, it turns out, actually traps moisture and causes cracks and deterioration, with repairs climbing into the millions of dollars. Back to Basics. While architects nowadays can get away with their shaky doodles (of the physically impossible buildings and cartoonish people with disproportionate heads) as long as they prove their CAD proficiency, the just-launched Beaux-Arts Atelier feels differently-- only when you master the basics can you be freer to do crazier, modern things with more creative control. More on The Wall Street Journal. The Digitals.  Architecture historian and journalist critic Alexandra Lange critically compares the content and design of four new digital interior design magazines and discusses the merits of blogs. Read her thoughts on Arch Record. Juried Judge. The NY Times ran a story about Supreme Court Justice Stephen Breyer's selection to join the Pritzker Prize jury, citing AN's report from September. The move looks to be a good one for architecture, as Breyer, a fan of Gothic and Beaux-Arts architecture, has pushed for better design of federal buildings.
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Quick Clicks> Safe, Cuts, Drawing, Rage

Safe. DNAinfo has a story on the newly landmarked interior of Gordon Bunshaft's Manufacturer's Trust Company building in New York including a 30-ton circular vault visible from the street. The exterior has been a landmark since 2007. Previous AN coverage here and here. Cutting History. Preservation magazine reports that President Obama's proposed 2012 budget sends the wrecking ball after two federal grant programs supporting historic preservation across the country: Save America's Treasures and Preserve America. Needless to say, the National Trust president was "profoundly disappointed." Pin Up. Architect Roger K. Lewis penned a piece for the Washington Post lamenting the downfall of hand drawing in architectural production. He warns that we should avoid the seductive "I can, therefore I shall" approach that computers can sometimes produce. Sidewalk Rage. Researchers at the University of Hawaii have identified key traits of Pedestrian Aggressiveness Syndrome. Richard Layman has the list of behaviors on Rebuilding Place in the Urban Space, which is readily on display on the sidewalks of major cities everywhere.