![]() Photoshop collage, 170 × 250 mm.īryan Cantley, in a conversation headed ‘Media-specific Impregnation: the Drawing as Subject’ with Nat Chard, addresses the mechanisms which make drawing an act of communication. Garden removed: Walled Garden fro Lebbeus, 2013. Neil Spiller, Ballad of Crafty Jack, Virtual Objects and their Virtual Shadows. The format of the book successfully supports a non-linear interpretation of the subject and its theory, which can be enjoyed equally by the amateur and professionals. They allow the drawings to be approached from another level of interpretation that helps the reader to penetrate the complex mechanisms and meanings. Directly extracted from the architects’ distinctive lingo, the glossary keywords give polyphonic resonance to the common thesis. ![]() The essays introduce and provide useful historical context to the open, sometimes vivid, discussion transcripts. Folded in between this varied content is an extensive collection of the drawings produced by the book’s participating authors between 19. Evident in the facial expressions, the images convey the sense of a post-pandemic joy of exchange and camaraderie along with the seriousness of the task at hand. Several black-and-white photographs of the symposium show the cohort gathered around large-scale drawings. Organised into four sections: ‘Drawing as Material Practice’, ‘Methods and Modes of Working’, ‘Agency of Drawing’, and ‘The Limit Conditions of Drawing’, fourteen transcripts, four essays, and four glossaries weave a theoretical thread in search of a common thesis. Watercolour paper, photocopy paper, wood glue, 590 × 840 mm. Lim, Shaun Murray, Nat Chard, Bryan Cantley, Perry Kulper, Natalija Subotincic, Michael Young, Mark West, Metis: Mark Dorrian and Adrian Hawker.Ĭ.J. The community defined by the book includes, in order of appearance: Mark Dorrian, Riet Eeckhout, Arnaud Hendrickx, Michael Webb, Peter Cook, Neil Spiller, Laura Allen, Mark Smout, Carole Lévesque, Thomas-Bernard Kenniff, C.J. They share a faith in drawing practice as a zone of inquiry, discovery, and exploration. Eighteen architects were invited, all of whom hold professorships or are involved in teaching and all of whom practice architecture through drawing, some exclusively so. ![]() The book itself is an ambitious and dense report of these four sessions. For two years, they met every six months in different cities to discuss drawing. ![]() In 2019, they gathered a cohort of architects with the aim to produce and exhibit a collection of contemporary architectural drawing. Research into the subject was initiated by editors Riet Eeckhout and Arnaud Hendrickx at KU Leuven University in Belgium. Experiencing it incited the memory of an epiphanic moment why are we all craving for this? My encounter with this book poses a related question: what are the sculpting modes and mechanisms behind these drawings? Incidentally, ‘The Whale’ is one of the few projects built by Archigram Group member, Peter Cook who, along with fellow member Michael Webb, is one of the first voices taking part in the book’s fourteen conversations. There is something euphoric and fascinating about these drawings that reminds me of a recent visit to the Graz Art Museum: a large, dark, plastic, glittering blue whale dressed with white, semi-circular LED lights, like small seashells, that flash through the cloudy Austrian night as Christmas approached. Hypercreativity and hypertechnology frame images that become machines that propel emotions. The further I dive into the book, the more outrageously the different media blend together with increasing acceleration. Some of the drawings are appealing, others are darker and almost repulsive, but a kind of cosmic joy sweeps over it all. I am plunged into an intense atmospheric world of fantastical stories, cosmic adventures, archaeological excavations, and biological investigations in which architecture and spatial representation perform with playfulness. ![]() The drawings are both very familiar and yet totally foreign. Flipping through the book for the first time, I discover its contents with a feeling of true ignorance and great excitement. ![]()
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