Rep_All_Kulper by Kallie Sternburgh

Raimund Abraham 1933 - 2010 Austria

dictum ornare. Aenean pellentesque mauris justo, eget lacinia lacus finibus eu. Sed convallis efficitur ligula sit amet vehicula. Duis sed porta leo, nec vulputate diam. In sit amet urna auctor, sodales ipsum in, facilisis magna. Integer eu elit sapien. Aliquam ac lacus enim.

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Praesent in gravida urna. In mollis erat ut felis ullamcorper semper. Duis felis arcu, imperdiet et vestibulum id, vulputate et felis. Proin non malesuada leo. Proin quis ipsum non lacus molestie vestibulum feugiat non sapien. Aenean tempus sapien sed sapien feugiat egestas. Integer feugiat magna quis lorem finibus viverra. Donec interdum urna non urna malesuada, ut mollis magna imperdiet. Fusce molestie urna sit amet tempus sagittis. Morbi neque justo, hendrerit eu orci vel, ultricies mollis metus. Proin sodales orci id placerat luctus. Suspendisse vel tellus et magna feugiat dignissim egestas nec magna. Nullam interdum purus et nisl finibus sagittis. Cras semper lorem vitae sapien ultricies vulputate eu nec augue. Ut vehicula dictum aliquet. Pellentesque venenatis venenatis urna, in aliquet eros sollicitudin ac. In iaculis felis a tortor ullamcorper consequat. Phasellus tincidunt ex in sem consequat, eget pulvinar libero faucibus.

10 Houses, 1970 / A one to two sentence description of the drawing goes here.

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9 Houses Triptych, 1975 / A one to two sentence description of the drawing goes here.

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House for the Sun / A one to two sentence description of the drawing goes here.

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Archigram Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, & Michael Webb 1960 - Present British

for architects rethinking social space and building technology. The Archigram style was assembled from the Apollo missions, constructivism, biology, manufacturing, electronics, and popular culture, inspiring an architectural movement of High Tech that influenced postmodern and deconstructivist trends of the late twentieth century.

In late 1960, a loose group of architects of Britain’s Architectural Association in London turned away from conventional architecture to propose drawings inspired by pop art and psychedelia that challenged the means of conventional architecture. The main British magazines did not publish student work at the time. Archigram was reacting to this as well as the general sterility of the scene. The title came from a notion of a more urgent and simple item than a journal, like a “telegram,” hence “archi(tecture)-gram.” Archigram’s sense of fun takes its place beside the other cultural agitants of the 1960s, originating attitudes and techniques that became standard

By this time Peter Cook, David Greene, and Mike Webb, in making a broadsheet, had started a new Group. Thus begins Archigram, a chronicle of the work of a group of young British architects that became the most influential architecture movement of the 1960s, as told by the members themselves. It includes material published in early issues of their journal, as well as numerous texts, poems, comics, photo collages, drawings, and fantastical architecture projects. Work presented includes Instant City, pod living, the Features Monte Carlo entertainment center, Blow-out Village, and the Cushicle personalized enclosure. Archigram’s influence continues to influence many of today’s architects; Lebbeus Woods, Neil Denari, Takasaki Masaharu, and Morphosis to name a few. Although most Archigram projects were at the limits of possibility and remained unbuilt, the six architects at the center of the movement, Warren Chalk, Peter Cook, Dennis Crompton, David Greene, Ron Herron, and Michael Webb, became a focal point for the architectural avant-garde, because they redefined the purpose of architecture.

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

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Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Archigram

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

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Archizoom Associati Archizoom 1966-1974 Italian

participated in other exhibitions: Superarchitettura 2 and Modena. The next years, Archizoom focused on the project “NoStop City”, a modernist vision of a city of the future. A city without boundaries, artificially lit and air conditioned. No Stop city was composed of a highly artificial environment made up of multifunctional furniture and clothing. For this projects, they created a very complete series of renderings, drawings and plans.

Archizoom Associati, also known as just Archizoom, is a design studio founded in 1966. The group was founded by architects and designers Andrea Branzi, Gilverto Correti, Paolo Deganello and Massimo Morrozzi. In December 1966 they organized there first exhibition: “Superarchittettura” with another group, Superstudio. The exhibition featured prototypes of architecture known for its anti-design approach. During the next year they

No-Stop-City / Interior view of “No-Stop City”

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No-Stop-City / A floor plan of “No-Stop City”

+ Archizoom Associati

No-Stop-City / A rendering of the project from a birds view.

+ Archizoom Associati

Atelier Olschinsky Atelier Olschinsky 2002a small creative studio based in Vienna, Austria

anatomy. Each series captures obscure details of the city and focuses on its structural, material composition as oppose to its inhabitants. This uncovers something very unique and characteristic, a personality almost, of the city itself. 1. Organic II 2. Pixel City 3. Structures III http://www.olschinsky.at/ http://dvrcty.com/ATELIER-OLSCHINSKY Vienna-based artists Peter Olschinsky and Verena Weiss co-founded a creative studio in 2002 and have since produced numerous projects that combine photography, illustration and graphic design. In the broad range of projects, there are a few common themes: construction and deconstruction, geometric patterns, intricate detail, and cities. Several collections depict the composition of nonspecific cities, essentially revealing a blueprint of their physical

Organic II + Atelier Olschinsky

Pixel City + Atelier Olschinsky

Structures III + Atelier Olschinsky

Ben Nicholson 1894-1982 British

are mostly soft and luminous, with delicate colors and fluid, indeterminate forms. In 1922 in London, he had his first one-man show. His landscapes of the later 1920s reveal his poetic feeling for nature which was an important element in his work. There is a remarkable freedom in the treatment of scale and perspective in his work, and the forms often have a playful, toylike character. His almost naive approach has something in common with the work of Christopher Wood, with whom Nicholson was closely associated during the 1920s. Along with Wood, in 1928 he discovered at St. Ives in Cornwall the work of Alfred Wallis, the greatest modern English primitive. The work of Wallis had a profound effect on Nicholson.

Benjamin Lauder “Ben” Nicholson, OM (10 April 1894 – 6 February 1982) was a British painter of abstract compositions (sometimes in low relief), landscape and still-life. After traveling in Europe, Nicholson went to Pasadena, California, in 1921. While there, he saw his first Cubist work — a painting by Picasso. He later said that “none of the actual events in one’s life have been more real than that, and it still remains a standard by which I judge any reality in my own world.” Nicholson’s landscapes and still lifes of the early 1920s appliance_house_3 Appliance House Image 2

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Still Life: Crystal, 1948

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Crowned Head â&#x20AC;&#x201C; the Queen

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Feb 2-54

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Bolles + Wilson Architecture Firm Established by Julia Bolles and Peter Wilson London

consideration to the cultural and the urbanistic context, which it must enhance.

Bolles+Wilson is an architecture firm established by Julia Bolles and Peter Wilson, both Architectural Association (AA) graduates. Established in London, the firm moved to M端nster after winning the design competition for the M端nster City Library.[1] Other major works include the Luxor Theatre in Rotterdam (2001) and the Helmond City Library (2010). BOLLES+WILSON are internationally known for a consistently high architectural quality in a wide range of projects, each an individual solution developed with careful AA Files 20 Autumn 1990: 68

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不可视

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ClippedOnIssuu

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Etienne Boullée 1728-1799 French

Etienne Boullée was a French neoclassical architect, who alongside Claude Nicolas Ledoux, was one of the most influential French architects of the neoclassical era. One of his most famous works was the Cenotaph for Newton, a 150 meter high sphere that was designed as a funerary monument for Isaac Newton. It was designed such that Newton’s sarcophagus would be illuminated through an oculus during both the day and night.

Cenotaph for Newton/ Elevation

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Cenotaph for Newton / Section

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Door of Perception/ Elevation

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Door of Perception/ Section

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Brodsky + Utkin 1955 Russia

Dollhouse / A one to two sentence description of the drawing goes here.

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Crystal Palace / A one to two sentence description of the drawing goes here.

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Wandering Turtle / A one to two sentence description of the drawing goes here.

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Pascal Bronner FleaFolly Architects 2006-Now British

Commendation (2006) and the Serjeant Award for Excellence in Drawing at Part 2 (2009). He was also a recipient of the Fitzroy Robinson Drawing Prize (2006), Leverhulme Bursary (2008, 2009), Sir Banister Fletcher Medal for highest marks for his Part 2 graduate studies at the Bartlett in 2009 and was nominated for the Hamiltons Prize for Design Process (2009). He was best in category for ‘International Prize’ in the Ken Roberts Memorial Delineation Competition (2010). Pascal has previously exhibited at the Architecture Biennial Beijing (“Emerging Talents, Emerging Technologies”, 2006), the Royal Academy Summer Exhibition (2008, 2010), Southern California Institute of Architecture, LA (2010), Milk and Sugar Gallery - Liverpool (2010), Dallas Center for Architecture (2010) and the AIA National headquarters in Washington DC (2011). Pascal Bronner was born in Malaysia, grew up in Germany and moved to UK in 2000. In London, he studied fine art at Byam Shaw School of Art (Central St. Martins), and later architecture at the Bartlett School of Architecture, UCL where he completed with 1st Class Honours and Distinction for his Part 1 undergraduate and Part 2 graduate studies respectively. Pascal was twice the RIBA President’s Student Medal nominee – the Bronze Medal (Part 1, 2006) and the Silver Medal (Part 2, 2009); and was awarded the RIBA Bronze Medal

Since graduating he has worked for a variety of award winning practices including AHMM, Hawkins\Brown Architects and Studio 8 Architects. During his time at Studio 8 Pascal worked on numerous award-winning projects such as GuangMing SmartCity in China and ‘Virtually Venice’, part of the 2004 Venice Biennale. Pascal teaches at The Bartlett - UCL, University of Greenwich - School of Architecture Design and Construction and The CASS. Pascal Bronner and Thomas Hillier now work as FleaFollyArchitects

The Symphonic Cannon / RIBA Presidentâ&#x20AC;&#x2122;s Medal Award Project depicting a stage for opera and theatre for the people of Malta

+ Pascal Bronner

The Folding Studio /Desktop and mobile architecture

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Portable Archaeological Unit / Working drawings into a sketchbook

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World Archive / inspired by Brodsky and Utkin’s ‘Columbarium Habitabile’ - storytelling through drawings

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New Sumidagawa, Tokyo - City in the River Valley/ Another one of Bronnerâ&#x20AC;&#x2122;s methods of depicting a larger story through drawings and photomontage + Pascal Bronner

CEDRIC PRICE CEDRIC PRICE 1934-2003 ENGLAND

As a working architect, he was associated with Maxwell Fry and Denys Lasdun before he started his own practice in 1960, working with The Earl of Snowdon and Frank Newby on the design of the Aviary at London Zoo (1961). He later also worked with Buckminster Fuller on the Claverton Dome. One of his more famous projects was the Fun Palace (1961), developed in association with theatrical director Joan Littlewood. Although it was never built, its flexible space influenced other architects, notably Richard (now Lord) Rogers and Renzo Piano whose Centre Georges Pompidou in Paris extended many of Price’s ideas - some of which Price used on a more modest scale in the InterAction Centre at Kentish Town, London (1971). Having conceived the idea of using architecture and education as a way to drive economic redevelopment - notably in the north Staffordshire Potteries area (the ‘Thinkbelt’ project) - he continued to contribute to planning debates. In 1969, with planner Sir Peter Hall and the editor of New Society magazine Paul Barker, he published Nonplan, a work challenging planning orthodoxy. In 1984 Price proposed the redevelopment of London’s South Bank, and foresaw the London Eye by suggesting that a giant Ferris wheel should be constructed by the River Thames. Although he built very little, his lateral approach to architecture and to time-based urban interventions, has ensured that his work has an enduring influence on contemporary architects and artists, from Richard Rogers and Rem Koolhaas, to Rachel Whiteread.

FUN PALACE / The Fun Palace was one of his most influential projects and inspired Richard Rogers and Renzo Pianoâ&#x20AC;&#x2122;s early 1970s project, Centre Georges Pompidou in Paris.

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FUN PALACE/ Initiated with Joan Littlewood, the theatre director and founder of the innovative Theatre Workshop in east London, the idea was to build a â&#x20AC;&#x2DC;laboratory of funâ&#x20AC;&#x2122; with facilities for dancing, music, drama and fireworks

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POTTERIES THINKBELT/ Proposal to take the whole rusting and decaying industrial infrastructure of the Potteries, and turn it into a kind of High-Tech think-tank. It was to be a new kind of university, called the Potteries Thinkbelt. It was not a â&#x20AC;&#x153;buildingâ&#x20AC;?, but a kind of circuit, or network, with mobile classrooms and laboratories using the existing rail lines to move from place to place, from housing to library to factory to computer center.

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POTTERY THINK BELT

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London Zoo Aviary, Regentâ&#x20AC;&#x2122;s Park, London, England, perspective drawing

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Coop Himmelblau Architectural Design Firm Founded by Wolf Prix, Helmut Swiczinsky and Michael Holzer Est. 1968 Vienna

and drawings in order to create an unexpected design. The philosophy of the office can be summarised with their 1980s manifesto “Architecture must burn”: “We want architecture that has more to offer. Architecture that bleeds, exhausts, that turns and even breaks, as far as I am concerned. Architecture that glows, that stabs, that tears and rips when stretched. Architecture must be precipitous, fiery, smooth, hard, angular, brutal, round, tender, colourful, obscene, randy, dreamy, en-nearing, distancing, wet, dry and heart-stopping. Dead or alive. If it is cold, then cold as a block of ice. If it is hot, then as hot as a tongue of flame. Architecture must burn!”

Coop Himmelb(l)au is a cooperative architectural design firm primarily located in Vienna, Austria and which now also maintains offices in Los Angeles, United States and Guadalajara, Mexico. The office has been trying to change the usual design paradigm since its foundation. The office tries to develop a radical design truth a realistic approach. Their Ideal is to work with complex shapes coming out of a complex process in which the architects mix different mediums such as models, 3-d modeling, parametric tools, sketches Blaze Tent - Site Analysis

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Blaze Tent - Ritual (build, discard, &burn)

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The Heart of a City - Melun SĂŠnart

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Daniel Libeskind Studio Daniel Libeskind 1946-present Polish-American

He formed Studio Daniel Libeskind in 1989 with his wife. He is currently the principal design architect of the firm. Some of his museum buildings include the Danish Jewish Museum, the Jewish Museum in Berlin, the Wohl Center in Ramat-Gan, Israel, the Imperial War Museum in England, the Michael Lee-Chin Crystal in Toronto, and many more. He also has a large residential portfolio and has had his work displayed at numerous museums. More recently, he won the competition for the master plan of the World Trade Center Site in New York City.

Daniel Libeskind is an architect, professor, and artist. He initially was well known for his musical talents, willing scholarships and awards for his accordion playing. He moved to the United States in 1953 and attended school in New York City. After school he worked as an apprentice for Richard Meier and then briefly for Peter Eisenman. He began his career first as an architecture professor and theorist at various institutions worldwide.

The Head/ http://daniel-libeskind.com

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Way/ http://daniel-libeskind.com

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Arctic Flowers / http://daniel-libeskind.com

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Chamberworks II / http://daniel-libeskind.com/

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Diller + Scofidio Diller Scofidio + Renfro Diller: 1954; Scofidio: 1935 Diller: Polish; Scofidio: American

Ricardo Scofidio also studied at the Cooper School of Art and in 1960 received a bachelor degree in architecture from Columbia University. He has been a professor of architecture at the Cooper Union School since 1965. The firm of Diller&Scofidio was formed in 1979. Since then they have received a number of grants and awards including the Macarthur fellows program as well as the Macdermott award for creative achievement from MIT and the Tiffany award for emerging artists.

Elizabeth Diller and husband, Ricardo Scofidio, created an alternative form of architecture practice that unites design, performance and electronic media with cultural and architectural theory and criticism. Elizabeth Diller attended the Cooper Union School of Art and received a bachelor of architecture degree in 1979. She then taught at the Cooper Union and has been associate professor of architecture at Princeton since 1990.

Recent projects include’Interclone Hotel’, an installation for the istanbul biennial; ‘The American Lawn: surface of everyday life,’ an exhibition at the canadian centre for architecture; ‘Bad Press’, which appeared at the venice biennale of architecture; Brooklyn academy of music cultural district in collaboration with Rem Koolhaas; ‘Facsimile’, a permanent installation for the new moscone convention center expansion in San Francisco, and ‘Travelogues’, a permanent installation at the new JFK international arrivals terminal in New York.

Overheard / It is a representation of something in that it is not the thing itself. In this sense, it cannot help but be embodied.

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Para-Site / â&#x20AC;&#x153;The structural supports for the video machinery complement this scientific scrutiny of the body and create a highly technical and disturbing environment, one that is measured by the machine and not by the human body.â&#x20AC;?

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Slow House / The house is simply a passage, a door that leads to a window, physical entry to optical departure.

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CASE NO. 00-17163 (Fragment) / The reader is drawn into the work in an attempt to determine exactly what has occurred. Itâ&#x20AC;&#x2122;s almost like mapping a forensic investigation.

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Pano Drawing / A panorama drawing.

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Peter Eisenman Peter Eisenman Architects 1932American

become known as the New York Five. During that time, he begun a series of residential designs, known as cardboard architecture, referencing their thin white walls and model like qualities. This work stemmed from his interest in language and semiotics. With this work, a text was followed to explain the work. With it, a series of drawings that dissected the process of design for the buildings.

Considered one of the most important architects and educators of the second half of the twentieth century, Peter Eisenman has had an extensive career spanning over 50 years. Founder and director of The Institute for Architecture and Urban Studies from 1967, during which Eisenman address issues that revolved around the nature of the modern city and housing. In 1969, through an exhibition at the MoMA, he became associated with the architects who would

In the late 1970â&#x20AC;&#x2122;s Eisenman had then turned to Postmodernism where he further explored the ideas incited with the House Projects. His later work began to become even more complex and became part of the philosophical movement known as Deconstruction. In the 1980 he established his practice in New York City and continue to make architecture. Peter Eisenman has several publications which include Diagram Diaries (1999), Eisenman Inside Out (2004) among others.

House VI / Part of the Houses I-X projectTransformations As part of the Houses I-X, this diagrams shows transformations of house VI in axonometric.

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House III / A diagram of the transformations of a cube that develop into House III as part of the project House I-X .

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Maison Dom-ino Diagrams / A diagram that disects and analyzes Le Corbusierâ&#x20AC;&#x2122;s Maison Dom-ino

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FAT Fashion Architecture Taste 1993-2013 British Architects

and make things that excite and hopefully excite the people that we work for.”

Founded in 1995, Fashion, Architecture, Taste (FAT) was an architecture firm founded in the UK by Sean Griffiths, Charles Holland, and Sam Jacob. Jacob describes their work as trying “to understand ways in which architecture can be relevant to contemporary culture. That means both looking forwards and backwards…trying to reject the contemporary mainstream and making it seem fresh…It’s often reaching back into history but using contemporary techniques or contemporary materials or a contemporary take on things which you find. This allows us to progress

As a result, the work of FAT is often categorized as postmodern, with their work containing overt references to many different architectural styles and pop culture. For example, their 2012 Biennale exhibit, title “The Museum of Copying,” argues that architecture is nothing more than a series of iterations of itself. The Heerlijkheid park near Rotterdam, on the other hand, is a tribute to the “allegorical landscape” of the suburban new town in which the park resides. The “villa” is self-described as a decorated shed, with layers or ornamentation speaking directly to the town’s industrial past and the bucolic present, providing an explicit visual narrative on the facade. Another example of this process is the Writer’s House in London, where classical detailing is employed at radical scales to give the effect of “a large fragment of a grand Palladian house having been squeezed into a small domestic space.” All of these projects employ standard architectural techniques, but in ways that create unique effect. While FAT closed their practice following the 2014 Venice Biennale, they have left behind a series of projects that are unlike any other currently in existence.

Heerlijheid Hoogvleit / Design for a community center in Rotterdam, presented as a palace.

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Offices for McKinsey / Office interior designed to recreate the working culture with a space designed as a miniature city square.

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The Writerâ&#x20AC;&#x2122;s House / A home office which uses layering, mirrors, internal views and varied circulation to make for a rich and subtle interior.

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Peopleâ&#x20AC;&#x2122;s Playground Blackpool / An entry for a design competition to reinvent the Blackpool seafront.

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Michael Graves Michael Graves Architecture & Design 1934 American

program that allowed him to work in the architectural office of Carl A. Strauss and Associates while completing his formal classroom education. It was at Strauss’s office that Michael Graves met an early mentor, Ray Roush. Upon receiving the degree of Bachelor of Science in Architecture in 1958, Michael Graves entered Harvard University’s Graduate School of Design and received a Master of Architecture degree the following year. After graduation, Michael Graves went to work for the designer and architect, George Nelson, where his long-standing interest in furniture design was encouraged. Michael Graves’s stay at Nelson’s office was short-lived however, because in 1960 he was the recipient of the Prix de Rome fellowship of the American Academy in Rome. MIchael Graves is a well-known American architect who has be recognized for his work in postmodern architecture as well as his line of domestic products sold at retail stores. Born on July 9, 1934 in Indianapolis, Indiana, Michael Graves had a childhood interest in drawing and painting that has stayed with him throughout his career in architecture. Michael Graves received his architectural training at the University of Cincinnati in a cooperative

From: http://architect.architecture.sk/michael-gravesarchitect/michael-graves-architect.php

Arabesque / Acrylic on gesso board

+ Michael Graves

The Portland Building / Considered to be one of the first major built works of Postmodernist design.

+ Michael Graves

The Portland Building / Colored pencil study of general elevation, with perspective and other sketches for a proposed cupola.

+ Michael Graves

Temples of Juno & Neptune / An elevation sketch studying the porpotions of the structure.

+ Michael Graves

Domus Agustana / A drawing of Roman ruins that explored what is currently and what might have been previously.

+ Name of the Architect

Zaha Hadid Zaha Hadid Architects Iraqi-British architect

Most architects make drawings. Yet, Zahaâ&#x20AC;&#x2122;s drawings of the 1980s are different, and in several ways. Most notably, she had to originate new systems of projection in order to formulate in spatial terms her complex thoughts about architectural forms and the relationships between them. These new projection methods were widely copied in their time, and influenced, I believe, the then-nascent computer modeling culture. More to the point, they enabled her to synthesize entire landscapes within which a project she was designing may have been only a small part. This has been crucial to her thought because she sees architecture

as an integral part of the wider world. She was a global architect long before the term acquired its present meaning. Studying the drawings from this period, we find that fragmentation is the key. Animated bits and pieces of buildings and landscapes fly through the air. The world is changing. It breaks up, scatters, and reassembles in unexpectedly new, yet uncannily familiar forms. http://lebbeuswoods.wordpress.com/2009/03/23/zahahadids-drawings-1/

Hafenstrasse Office and Residential Development, Hamburg, 1989 / http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/

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The World (89 degrees), 1983 / http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/ + Zaha Hadid

Vitra Firestation design stidy, 1990 / http://lebbeuswoods.wordpress.com/2009/03/23/zaha-hadids-drawings-1/ + Zaha Hadid

Christine Hawley Christine Hawley Architects British

In 1975, Hawley became a partner in Cook and Hawley Architects, London. In 1978 she registered as a British architect (ARCUK) and practiced with Pearson International Architects in London. In 1998 she established Christine Hawley Architects, also in London. From: http://www.christinehawleyarchitects.co.uk/

Christine Hawley completed her Architectural Association Diploma at the Architectural Association School of Architecture, London, in 1975. While she was completing her studies, she worked in the Department of Environment in London and practiced with Renton, Howard, Wood and Levin Architects, also in London. From 1972 to 1973 she practiced with De Soissons Partnership Architects and Yorke Rosenberg and Mardell (YRM) Architects, both in London.

Metamorposis / â&#x20AC;&#x153;Burnt Iron-Rotting Wood,â&#x20AC;? a housing project in a London suburb.

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Urban Collage / A collage made from visual materials found in the London suburb of Peckham. Hawley wanted to challenge how contemporary assumptions about urban situations inform the projectâ&#x20AC;&#x2122;s design.

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A collaborative drawing with Peter Cook.

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John Hejduk 1929-2000 American

He offered dark, brooding meditations on architectural themes. Images of ashes, graveyards, watchtowers and medusa heads recurred in his drawings. He believes that a drawing could stand by itself as a completed work of architecture. And, if one reads the drawing as the architectural work, then the page of the drawingâ&#x20AC;&#x201D;its frameâ&#x20AC;&#x201D;becomes the site.

John Quentin Hejduk was an American architect, artist and educator, who served as the Dean of the Irwin S. Chanin School of Architecture at the Cooper Union until his death. He was an architect who largely abstained from conventional practice, and the bulk of his work consisted of theoretical projects, executed in the form of drawings that were combined into poetic, often highly personal narratives.

Objects and Subjects

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Wall House2/ Wall House 2 is admired for itâ&#x20AC;&#x2122;s fusion of Surrealist sculpture, Cubist paintings and architecture, which reflect John Hejdukâ&#x20AC;&#x2122;s identity as an artist, poet, educator and architect.

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Diamond House / Hejduk’s floor plan for the “Diamond House” is an inspiring struggle with the endless search for the “perfect floor plan”.

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Thomas Hillier FLEAFOLLYARCHITECTS 1982 -Present British

from the Bartlett School of Architecture and was awarded the ‘Dean’s list for excellence in design’ under the tutelage of CJ Lim in 2008. Nonetheless, he has already exhibited around the world, notably in 2012 with his first solo exhibition at the RAW Gallery of Architecture in Winnipeg, Canada. In 2010 his project entitled ‘The Migration of Mel & Judith’ was exhibited at the Royal Academy Summer Exhibition where he was awarded a High Commendation for best first time exhibitor and was interviewed and featured on the BBC Culture Show.

Thomas Hillier’s work has been published extensively in books and journals such as Blueprint, Icon and Domus and he continues to write internationally on the use of narrative within architecture. A recent graduate, Thomas Hillier received his MArch in Architecture with a Distinction

Thomas’s architectural interests go beyond the built environment to include art, design, storytelling and installations with a particular interest in how literature can be directly translated into urban and architectural space. He attempts to look at architecture from a different perspective, using unorthodox narratives and programs to create original and often surreal observations. Most recently, Thomas is co-founder of FLEAFOLLYARCHITECTS, a new energetic architecture practice.

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

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Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Thomas Hillier

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Thomas Hillier

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

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Sir John Soane Office of Works 1753-1837 English

swamped by the revival styles of the 19th century. It was not until the late 19th century that the influence of Sir John’s architecture was widely felt.

Sir John Soane was an English architect who specialised in the Neo-Classical style. The son of a bricklayer, he rose to the top of his profession, becoming professor of architecture at the Royal Academy and an official architect to the Office of Works. He received a knighthood in 1831. His architectural works are distinguished by their clean lines, massing of simple form, decisive detailing, careful proportions and skilful use of light sources. The influence of his work, coming at the end of the Georgian era, was

His best-known work was the Bank of England (his work there is largely destroyed), a building which had a widespread effect on commercial architecture. He also designed Dulwich Picture Gallery, which, with its toplit galleries, was a major influence on the planning of subsequent art galleries and museums. His main legacy is Sir John Soane’s Museum, in Lincoln’s Inn Fields, London. The museum comprises his former home and office, designed to display the art works and architectural artifacts that he collected during his lifetime, and described in the Oxford Dictionary of Architecture as ‘one of the most complex, intricate, and ingenious series of interiors ever conceived’.

â&#x20AC;&#x2DC;Public and Private Buildings Executed by Sir John Soane / Watercolour by Joseph Michael Gandy, 1818

+ Name of the Architect

Section of Sir John Soaneâ&#x20AC;&#x2122;s Museum / Watercolour by Joseph Michael Gandy.

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Bank of England Interioir / Watercolour by Joseph Michael Gandy.

+ Name of the Architect

Forum Romanum/ For Mr Soaneâ&#x20AC;&#x2122;s Museum exhibited 1826.

+ Name of the Architect

‘Aerial cutaway view of the Bank of England from the south-east’ / Watercolour by Joseph Michael Gandy,1830

+ Name of the Architect

Christian Kerrigan Christian Kerrigan 1979 Irish in Oslo, Norway & the BOZAR at the Palace of Fine Arts Brussels Belgium. At this book launch in San Francisco Christian was introduced to internatinal curators opening his spectrum of opportunity. He worked at STUFISH with Mark Fisher, designing stage set for large concert venues and art pavilions. After this experience christian began developing installatons for art galleries in order to continue his development of The 200 Year Continuum. Christian exhibited installations at The Jago Contemporary Art Gallery in September 2008 and The Bargehouse show ‘Transition’ at Oxo Tower Wharf, London in March 2009.

Christian Kerrigan was born in Co. Wicklow, Ireland in 1979. In his art he uses digital technology to make objects, installations, and drawings which draw out an array of ideas about nature, technology and mortality. The 200 Year Continuum is the title given to his collection which he has been developing since graduating with a Masters, from The Bartlett School of Architecture in 2007. At this time Christian was awarded the Fitzroy Robinson Drawing Prize, at University College London and the Reid Prize for Postgraduate Diploma. Previously graduating from Edinburgh College of Art, he also received a Dipolma in Architectural Technology at Dublin Institue of Technology in Ireland. After graduating his drawings were published alongside artists Joseph Beuys, Jeanne Claude & Christo, Olafur Eliasson and Cai Guo Qiang in the publication, Art in Action, Nature, Creativity and Our Collective Future, in partnership with United Nations Environment Programme (UNEP) and Natural World Museum (NWM) San Francisco. The publication was exhibited at the Nobel Peace Center

In November 2008, Christian was guest speaker and exhibitor at the GSK New Contemporary Art season, at the Royal Academy of Arts, London. In December that year he aslo presented his work at the 11th Generative Art International Conference Milan and in February 2009, he presented at an international conference of Architecture and Complexity at University College London. In August 2009 he was selected to present an Art paper from the The 200 Year Continuum at SIGGRAPH, the 36th International Conference on computer graphics and interactive techniques, New Orleans. Christian was also awarded Artist in residence by Arts Council of England and Creative Partnerships to develop the use of digital technology in collaboration with Our Lady’s Catholic Primary school Stoke-on-Trent from February to July 2009. In March 2009, he was also selected for Tate Modern, Unilever Series: Dominique Gonzalez-Foerster TH 2058 Visions for London 2058 and the MMOCA Publication, Visionary Drawings by Massachusetts Museum of Contemporary Art. In August 2009, his narrative ‘The Amber Clock’, was published in a Special Issue of Leonardo, the journal of art and technology and also Technoetic Arts focusing upon the juncture between art, technology and the mind.

Atelier 01 / The â&#x20AC;&#x2DC;Drawingâ&#x20AC;&#x2122; will act as a conceptual space and technique to challenge ideas between man, matter, scale and time.

+ Christian Kerrigan

Daylighting the Virtual / A fragment of a physical sculpture I made, was captured using 3D software, colliding with digital weather systems.

+ Christian Kerrigan

The 200 Year Continuum / This is the societyâ&#x20AC;&#x2122;s relationship to emerging technologies and the natural world - in this case, the last remaining yew forest in the UK.

+ Christian Kerrigan

The 200 Year Continuum / By controlling the manipulation of refined armatures, calibrating devices and designed corsets; the system is capable of controlling the growth of a ship inside the forest. The ship will grow over a period of two hundred years and will exist as a hidden architecture inside the trees.

+ Christian Kerrigan

The 200 Year Continuum / This project explores the possibilities of a symbiotic relationship between two different systems of organization, technology and nature. The technology is designed to theoretically alter newly planted trees in the last remaining Yew forest- Kingley Vale.

+ Christian Kerrigan

Rem Koolhaas Rem Koolhaas OMA 1944Dutch

The next landmark publication by Koolhaas was S,M,L,XL, together with Bruce Mau, Jennifer Sigler, and Hans Werlemann (1995),[13] a 1376-page tome combining essays, manifestos, diaries, fiction, travelogues, and meditations on the contemporary city. The layout of the huge book transformed architectural publishing, and such books— full-colour graphics and dense texts—have since become common. Ostensibly, S,M,L,XL gives a record of the actual implementation of “Manhattanism” throughout the various (mostly unrealized) projects and texts OMA had generated

up to that time. The part lexicon-type layout (with a marginal “dictionary” composed by Jennifer Sigler, who also edited the book) spawned a number of concepts that have become common in later architectural theory, in particular “Bigness”: ‘old’ architectural principles (composition, scale, proportion, detail) no longer apply when a building acquires Bigness. This was demonstrated in OMA’s scheme for the development of “Euralille” (1990–94), a new centre for the city of Lille in France, a city returned to prominence by its position on the new rail route from Paris to London via the Channel Tunnel. OMA sited a train station, two centres for commerce and trade, an urban park, and ‘Congrexpo’ (a contemporary Grand Palais with a large concert hall, three auditoria and an exhibition space). In another essay in the book, titled “The Generic City”, Koolhaas declares that progress, identity, architecture, the city and the street are things of the past: “Relief … it’s over. That is the story of the city. The city is no longer. We can leave the theatre now...”

Melun-Senart

+ Rem Koolhaas

Melun-Senart

+ Rem Koolhaas

Transferia, project, 1991

+ Rem Koolhaas

Transferia, project, 1991

+ Rem Koolhaas

Jimenez Lai bureau-spectacular 2008-Now American

Jimenez Lai is a faculty member at UCLA and taught at University of Illinois at Chicago. He graduated with a Master of Architecture from University of Toronto. Previously, Jimenez Lai lived and worked in a desert shelter at Taliesin and resided in a shipping container at Atelier Van Lieshout on the piers of Rotterdam. Before founding Bureau Spectacular, Lai worked for various international offices, including OMA. In the past years, Lai built numerous installations as well as being widely exhibited and published around the world, including the MoMA-collected White Elephant. His first manifesto, Citizens of No Place, was published by Princeton Architectural Press with a grant from the Graham Foundation. Jimenez Lai has pioneered an unexpected and wholly unique approach that moves beyond contemporary architectural renderings and models. His graphic novel - Citizens of No Place is a collection of graphic stories on architecture and urbanism. Inspired by the theoretical drawings of paper architects, Lai uses manga-style storyboards to explore the role of fantasy and storytelling in architecture and in the process ushers in the next generation of theory and criticism.

Abstraction of Living : Using comics which simultaneously designs the work, its mythology, and its narrative.

+ Jimenez Lai

Cartoonish Metropolis: This project proposes a democratic gorging of architectural fairytales into the interior of skyscrapers to embellish the metropolitan as a cultural incubator, with an over-saturation of fun, generosity and softness.

+ + Jimenez Lai

Giant urban toys : This project attempts at activating the urban voids of an American downtown by sprinkling skittles onto an otherwise serious and vacant urban landscape.

+ Jimenez Lai

Th e Crown of Love : An aggregation of character-like figures, this project uses multiple projections onto the same mass to introduce plural readings of the same mass, and attempts at a calibration of suggestive ambiguity.

+ Jimenez Lai

Tapped Capital : Taking the column more seriously as a comparable reading of the human body,this project perversed the freestanding column into street follies of early 2010s.

+ Jimenez Lai

Leon Krier SOMAI 1946-present Luxembourger

for James Stirling in 1968. After working for three years, he practiced architecture and taught in England at the Architectural Association and Royal College of Art. He famously said, “I am an architect because I don’t build.” He has written many books including, Drawings for Architecture; Houses, Palaces, Cities and Architecture &

Urban Design.

He was the first director of the SOMAI (Skidmore, Owings, & Merril Architectural Institute) in Chicago, IL. Since that position Krier has mainly worked on furniture design for Giogetti, Italy.

Leon Krier is an architect, urban planner, and architectural theorist. He is known as one of the most influential neotraditional planners and architects. He is also renowned for his critiques of the modern architecture movement, especially regarding suburbanization. As a result, he is a huge advocate for the reconstruction of the traditional urban model found in older European cities. Krier began studying architecture at the University of Stuttgart, but dropped out after one year to work instead

Construction/ Drawing for Architecture

+ Leon Krier

Accumulation/ Drawings for Architecture

+ Leon Krier

House for Rita/ http://www.,moma.org

+ Leon Krier

Hypostyle House / Archive of Affinities Leon Krier

+ Leon Krier

CJ Lim Studio 8 Architects, The Bartlett Faculty 1964Malaysia

1. Dream Isle (2008) : Culture Assemblage 2. Nam June Paik Museum (2003): Cultural Centres 3. Bakerâ&#x20AC;&#x2122;s Garden (2008): Culture Assemblage http://www.cjlim-studio8.com/ http://bldgblog.blogspot.com/2011/04/fiction-and-city.html

CJ Lim (born Chwen Jeng Lim, 1964 in Malaysia[1]) is the Professor of Architecture andUrbanism, and ViceDean at The Bartlett Faculty of the Built Environment at University College London (UCL); and served as Pro-Provost of University College London.[2] He is the founder and director of Studio 8 Architects, a UK-based multidisciplinary and international practice in sustainable urban planning, architecture and landscape, focusing on interpretations of social, cultural and environmental programmes

Dream Isle / 2008 (Culture Assemblage)

+ CJ Lim

Nam June Paik Museum / (2003): Cultural Centres

+ CJ Lim

Bakerâ&#x20AC;&#x2122;s Garden / 2008, (Culture Assemblage) + CJ Lim

Malevich Artist 1879-1935 Ukraine

tactility and texture of paint, more emphasis is placed upon the paint itself. It had to be even, sharp, smooth and flawless in order to capture the essence of color. Sparse, yet bearing layers of philosophical, emotional depth, the effects of Malevich’s work were felt in the art world at the time and continue to resonate today.

At a first glance, Malevich’s Black Square (1915) looks deceptively simple. But within these shapes lie a host of artistic associations. Malevich described the black square as the ‘zero of form’ and the white background as ‘the void beyond this feeling.’ In a way, his technique proclaimed that paintings are composed of flat, abstract areas of paint – just as much a rejection of the medium as a celebration of its endless possibilities. Here, the act of painting is subordinate to the rules of composition, form and color. Strangely, by rejecting the

Rest. Society in Top Hats,1908

+ Malevich

Peasant Woman Carrying Buckets with Water,1913

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Peasant Woman Carrying Buckets with Water,1903

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Head of a Peasant Girl,1903

+Malevich

Michelangelo 1475-1564 Italian

a famous unexecuted project- facade plan for Basilica of San Lorenzo. Michelangelo’s architecture stands out equally as impressive as his paintings or sculptures. Though audiences today so much less receptive to his architecture. The principal reason is that it is deceptively difficult to understand.

Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance. Architecture became Michelangelo’s primary occupation in the last thirty years of his life, and once he had finally settled in Rome, he began to work on projects in earnest. His architecture works includes St. Peter’s Basilica, Laurentian Library, Chapel of Leo X, New Sacristy, Piazza del Campidoglio complex, Palazzo Farnese, Porta Pia, and

Those tense, muscular figures in his painting and sculpture have an immediate, visceral impact. His architectures, too, has the power to move the uninitiated. Visitors with no background in Michelangelo’s architectural thought is still likely to experience a sense of tension and compression. On a deeper level, Michelangelo’s architecture engaged in a playful dialogue with classical style—the columns, capitals, bases and myriad other elements that formed the lingua franca of architecture from classicism’s invention in ancient Greece to the dawn of modernism in the 20th century.

Plan for the Church of San Giovanni deiFiorentini, Rome

+ Michelangelo

Drawings for the fortifications of Florence/ In 1528, when the Papal armies were threatening to attack Florence and restore the Medici family to autocratic power, the Florentine Republic gave Michelangelo Buonarotti the responsibility of strengthening the cityâ&#x20AC;&#x2122;s fortified defenses.

+ Michelangelo

Sketches for St. Peterâ&#x20AC;&#x2122;s dome showing a double shell dome and a lantern

+ Michelangelo

Enrique Miralles + Carme Pi単os Pinos Miralles 1955-2000 1954Spanish

Enrique Miralles + Carme Pi単oa were a husband-wife architecture partnership that began in 1985. Both Miralles and Pi単os were born in Barcelona and trained at ETSAB (Excuela T辿chnica Superior de Arquitectura de Barcelona. Miralles eventually went on to teach at ETSAB in1985. Their partnership ended in 1991. They are most well known for their Barcelona Olympic Archery Range design, which was completed in 1991 and are particularly revered for the elegance of their line drawings.

Barcelona Summer Olympics Archery Range/ 1992

+ Miralles + Pi単os

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Miralles + Pi単os

Competition Drawing/ A one to two sentence description of the drawing goes here.

+ Miralles + Pi単os

Renovations to Santa Caterina Market / 1997

+ Miralles + Pi単os

Piet Mondrian Mondrian 1872-1944 Dutch

crucial in the development of modern art.

Known as one of the founders of the De Stijl movement. He is known for his pure abstractions and methods by which he arrived at his works. In his work, Mondrian simplified elements to reflect the order underlying the visible world. The result was a clear, almost universal aesthetic language. During the 1920â&#x20AC;&#x2122;s, he painted his more well known work, reducing and completely abstracting the objects in the painting to rectangles and lines using only a very basic color palette. His abstractions, with its asymmetrical balanced and simplified vocabulary, were

Composition with Red, Yellow, Blue and Black / Oil on Canvas

+ Piet Mondrian

Composition II in Red, Blue and Yellow / Oil on Canvas

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Composition No.10 / Oil in Canvas

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Morphosis Thom Mayne, Livio Santini, James Stafford, Michael Brickler, Michael Rotondi 1972-Present American

sectioning, with a pragmatic sense of materiality, the use of pressed steel plates, concrete, and a few wellplaced elements of color. Visible constructions only add to the formal excitement of open-ended and juxtaposing spaces, which testifies to a sound understanding of urban surroundings and programmatic constraints.

Morphosisâ&#x20AC;&#x2122; designs reflect the legacy of Southern Californian architects such as Rudolph Schindler and Richard Neutra. The studio was founded by Thom Mayne, Livio Santini, James Stafford, and Michael Brickler in 1972. They were joined three years later by Michael Rotondi. The office is named after the Greek term, morphosis, which signifies a process of forming or being in formation. Hence the name reflects a willingness to embrace sculptural shapes and the sensation of movement. Morphosisâ&#x20AC;&#x2122; design philosophy is targeted at creating meaning in architecture as a reflection of physical and mental contexts. Their buildings feature daring cuts and

Early projects were primarily of smaller scale and locally based, yet today Morphosis Architects is a significant global player on the architectural scene, with offices in Los Angeles and New York and projects in North America, Europe, the Middle East, and East Asia. This includes residential, institutional, and civic architecture, as well as large-scale urban design projects and small-scale object design. Parametric modeling and BIM are new tools in the hands of an office which has nevertheless always strived for spatial complexity and intricate interplays between concept and construction. Thom Mayne (born 1944) is design director of Morphosis. Mayne graduated from the University of Southern California and the Harvard University Graduate School of Design and took part in the foundation of what has become one of the most cutting edge schools of architecture in the US, Southern California Institute of Architecture (SCIArc). Mayne has held several teaching positions and was awarded the Pritzker Architecture Prize in 2005.

Wohnbau Wagramer Strasse / A housing project in Vienna, Austria, 1994

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Cornell Tech / A design drawing of the Cornell Tech, 2012-2014

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Hippocampus / An exploratory drawing upon the notion of the physical city and one built upon memory.

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Shaun Murray ENIAtype

They also explore notational systems, which Murray finds important, but often overlooked, within the communication of ideas. ENIAtype: Ecologies, Notation, Instructional Design, and Aesthetics

Shaun Murray is the director of ENIAtype, a practice focusing on non-anthropocentric models that explore ecological, notational, instructional, and aesthetical design visions. The group uses a range of modes of exploration from alternative principles to emergent practical environmental problems. The drawings feature work that strives to find a human communication to ecology within architectural design.

Camargue Condensations, 1999/ The project uses technological devices that react to material flows in the Rhone Valley, creating an object performance.

+ Shaun Murray

meaningless objects, 2003 / The project proposes a simulated eniatype for different environments as a way to see the ways in which potential constructions methods can perform.

+ Shaun Murray

Accelerated Bodies and Mobile Horizons, 2000/ â&#x20AC;&#x153;Dreaming to travel in the virtual universe of accelerated bodies where the strangest traces of the mobile horizon are visible.â&#x20AC;?

+ Shaun Murray

MVRDV Winy Maas, Jacob van Rijs and Nathalie d Vries 1993-Now Dutch

MVRDV was founded in 1993 by Winy Maas, Jacob van Rijs and Nathalie de Vries in Rotterdam, the Netherlands. The practice engages globally in providing solutions to contemporary architectural and urban issues. A highly collaborative, research-based design method involves clients, stakeholders and experts from a wide range of fields from early on in the creative process. The results are exemplary, outspoken projects, which enable our cities and landscapes to develop towards a better future. MVRDV first published a manifesto of its work and ideas in FARMAX (1998), followed by MetaCity/Datatown (1999), Costa Iberica (2000), Regionmaker (2002), 5 Minutes City (2003), KM3 (2005), Spacefighter (2007) and Skycar City (2007), and more recently The Vertical Village (with The Why Factory, 2012) and the firmâ&#x20AC;&#x2122;s first monograph of built works MVRDV Buildings (2013). MVRDV deals with issues ranging from global sustainability in large scale studies such as Pig City, to small, pragmatic architectural solutions for devastated areas such as New Orleans.

The Dutch Pavillion / â&#x20AC;&#x153;Holland creates Spaceâ&#x20AC;?: the theme for the Netherlands Pavilion at the 2000 World Expo in Hanover : drawings translated into buildings

+ MVRDV

Play Oosterwold! / Masterplan where players are provided with simple rules and conditions to shape and build their individual plots

+ MVRDV

Market Hall / Collage and drawing become new skins for the new market hall building

+ MVRDV

FARMAX/ Drawings and sketches by the architects to rethink new ways of approaching farming in urban densities

+ MVRDV

Photomontage / MVRDVâ&#x20AC;&#x2122;s photomontage techniques used to explore new forms of architecture and environments

+ MVRDV

Nat Chard Bartlett School of Architecture, University College London London

Drawing Uncertainty The architectural program makes sweeping generalisations about how we inhabit architecture. Nat will show a series of drawing instruments that speculate about ways of discussing the indeterminate in architecture. The talk will include recent work on paradoxical shadows and some new drawing instruments that are in progress.

Drawing Instrument Five,2011

+ Nat Chard

Idaho and Washington Field Patterns,2014

+ Nat Chard

Idaho and Washington Field Patterns,2014

+ Nat Chard

Neil Denari NMDA Born 1957 Texas

press and exhibitions such as the Royal Academy Summer Exhibition. Alongside visualisation work, Nick has worked on design and architectural projects such as The Queenâ&#x20AC;&#x2122;s Jubilee Barge, Thames Estuary Airport, Apple Headquarters CA, West Kowloon Cultural District and Istanbul New Airport.

Nick received his MArch in Architecture with distinction from the Bartlett UCL in 2014 where he received both Bronze and Silver RIBA nominations. He has won the RIBA Donaldson Medal and the Sir Banister Fletcher Medal for his student work at UCL. Nick has worked at Foster and Partners, tutored at Central Saint Martins, University of the Arts London and has lead drawing workshops at UCL. He has worked on many freelance visualisation commissions reaching international

Massey Residence (Schnitt-Haus) / Sectional Perspective View. Los Aneles, CA. 1994

+ Neil Denari

Astronautsâ&#x20AC;&#x2122; Memorial Competition / Kennedy Space Center, FL

+ Neil Denari

Tokyo International Forum Competition / 100,000 swuare meters of mixed-use public facilities, including three large auditoriums, information salons, exhibition halls, and meeting rooms.

+ Neil Denari

West Coast Gateway Competition / Los Angeles 1988

+ Neil Denari

Nic Clear Clear Space, General Lighting and Power British

Nic ran his own company, Clear Space, for many years before setting up the now-defunct General Lighting and Power whose work spanned pop promos, architecture, advertising campaigns and art installations. Having abandoned the ‘corporate architectural complex’, Nic now divides his time between teaching, writing fiction, performing, and making his own drawings and films. Nic has been at the forefront of the use of the moving image in architecture and architectural education for over 15 years, developing skills and techniques in the production of a wide variety of projects from documentary programmes to highly speculative ‘virtual’ conceptions of space. Nic Clear is a qualified architect and head of architecture and landscape at the School of Architecture, Design & Construction. Nic joined the University of Greenwich in 2011 having taught at the Bartlett School of Architecture for over 20 years, where he was programme director of MArch Architecture. He was also history and theory coordinator of the Masters in Architectural Design, and has taught in the UK, Europe, US and Canada.

He has lectured widely on the use of video and animation in architectural practice, particularly at postgraduate level, and has run international workshops designed to explain the techniques and methodologies used in designing with and representing architectural ideas through the moving image

The Gold Mine: Toward a Lucid Architecture / Still from short film.

+ Nic Clear

The Gold Mine: Toward a Lucid Architecture / Board from drawing sereis

+ Nic Clear

Misrepresenting Architecture / â&#x20AC;&#x153;Misuseâ&#x20AC;? of the standard forms of architecture.

+ Nic Clear

Misrepresenting Architecture / â&#x20AC;&#x153;Misuseâ&#x20AC;? of the standard forms of architecture.

+ Nic Clear

Misrepresenting Architecture/ â&#x20AC;&#x153;Misuseâ&#x20AC;? of the standard forms of architecture.

+ Nic Clear

Nick Elias MArch from the Bartlett UCL - Sir Banister Fletchel Medal 1887-1965 London, UK

Happily Ever After / 1920s Slough is revisited to capitalise from the economy of â&#x20AC;&#x2DC;happinessâ&#x20AC;&#x2122; as an alternative industry using Winnie the Pooh as a metaphorical protagonist for happiness.

+ Nick Elias

Come to Slough / PoohTown, aims to re-evaluate covert responses to socio-political exclusion by proposing â&#x20AC;&#x2DC;happyâ&#x20AC;&#x2122; architectures where residents can live, work and play together in a sustainable economic network.

+ Nick Elias

Poohsticks / n/a

+ Nick Elias

Water Conservation Perception / An â&#x20AC;&#x2DC;oasisâ&#x20AC;&#x2122; to epitomise the British retirement and tourist destination that often brings harsh demand for natural resources. Hydroponically grown grass is draped over the various hidden irrigation structures needed to sustain it.

+ Nick Elias

Marcos Novak

Urban Design at UCLA, he is the founding director of the Laboratory for Immersive Virtual Environments and the Advanced Design Research Program at the School of Architecture at the University of Texas at Austin, and a Fellow of the World Technology Network; and his (many) writings which combine architecture, music, art, computation, science, and/or technology include the seminal paper Liquid Architectures in Cyberspace (1991), transArchitecture: Against the Collapsing Radius of Fiction, and Transmitting Architecture: The transPhysical City (1996) - which became the theme of the XXIII World Congress of the UIA ((Union Internationale Des Architectes, 2008). From: http://v2.nl/archive/people/marcos-novak/view Marcos Novak is an architect, artist, composer, and theorist who employs algorithmic techniques to design actual, virtual and hybrid intelligent environments. The self-described transarchitect is seeking to expand the definition of architecture by including electronic space, and originated the concept of liquid architectures in cyberspace and the study of a dematerialized architecture for the new, virtual public domain, the immersive virtual worlds. Novak is professor at the Department of Architecture and

AlloBio Project / Transarchitecture: exploring the relationships between virtual and physical

+ Marcos Novak

AlloBio Project / Transarchitecture: exploring the relationships between virtual and physical

+ Marcos Novak

AlloBrain @ AlloSphere / An immersive environment created from a MRI scan of Novakâ&#x20AC;&#x2122;s brain. The AlloSphere is a three-story high sphere for the creation of immersive virtual environments.

+ Marcos Novak

Data Driven Forms / 1997 - 1998

+ Marcos Novak

TransTerraFirma: After Territory / Hybrid territory and hybrid territoriality: hybrid terror to reality, territoReality

+ Marcos Novak

Peter Cook Archigram, CRAB Studio 1936-present British

Architectural Association School of Architecture in 1960. One of his most significant pieces of work, Plug-In City, completed while working with Archigram, continues to play a role in modern architectural dialogue. He currently teaches at the University College Londonâ&#x20AC;&#x2122;s Bartlett School of Architecture. He currently is practicing with Gavin Robotham as part of CRAB Studio (Cook Robotham Architectural Bureau).

Peter Cook is an architect, architectural writer and lecturer. He is most well known for being one of the founders of Archigram. In 2007, he was knighted by the Queen of England for his services to both teaching and architecture. As a member of Archigram, he also received the Royal Gold Medal from the Royal Institute of British Architects in 2004. Cook began studying architecture at Bournemouth College of Art until 1958 and then completed his education at the

Way Out West 1988 / Via Crab Studio http://www.crab-studio.com/peter-cook-s-drawings.html.

+ Peter Cook

Plug in City 1964 /ArchDaily

+ Peter Cook

Towers/ CRAB Studio

+ Peter Cook

Pinto Master Plan / CRAB Studio

+ Peter Cook

Walter Pichler 1936-2012 Austria

sculpture be free from the limits of abstraction. 1. Barn 2. Underground Building, project, Isometric 3. Drawing for “Intensivbox,” 1967 http://www.gladstonegallery.com/artist/walter-pichler/ work#&panel1-1 http://criticundertheinfluence.wordpress.com/2009/11/09/ walter-pichler-prototyping-escape/ http://www.moma.org/

Born 1936 Deutschnofen, Italy; Died 2012 Burgenland, Austria, Walter Pichler is a leading artist in Austria’s postwar avant-garde movement. He works in the border zone between sculpture and architecture, specializing in architectural designs for utopian city-planning projects and three-dimensional models confronting space and individual perception. Together with Hans Hollein he demanded that architecture be free from the constraints of construction and that

Barn / A one to two sentence description of the drawing goes here.

+ Walter Pichler

Underground Building / project, Isometric.

+ Walter Pichler

Drawing for “Intensivbox” / 1967

+ Walter Pichler

Jesse Reiser + Nanako Umemoto RUR Architecture PC American Japanese

Jesse Reiser + Nanako Umemoto started the firm, RUR Architecture PC in 1986 and are based in New York City. Reiser received his Bachelor of Architecture degree from Cooper Union and his Masters from Cranbrook Academy of Art, while Umemoto attended the School of Urban Design at the Osaka Univeristy of Art and Cooper Union. Some of their most famous projects include the O-14 Tower, Kaohsiung Port and Cruise Service Center, as well as the Aktion Poliphile: Hypnerotomachia Ero/machia/ hypniahouse.

Kaohsiung Port Terminal/ Site Plan

+ Reiser + Umemoto

Kaohsiung Port Terminal/ Main Floor Plan

+ Reiser + Umemoto

Aktion Poliphile: Hypnerotomachia Ero/machia/hypniahouse/ 1989 Southeast Elevation

+ Reiser + Umemoto

Aktion Poliphile: Hypnerotomachia Ero/machia/hypniahouse/ 1989 Northeast Elevation

+ Reiser + Umemoto

Aktion Poliphile: Hypnerotomachia Ero/machia/hypniahouse/ 1989 Roof Plan

+ Reiser + Umemoto

Carlo Scarpa 1906-1978 Italian

form, and materiality. The drawings might also express the process of design, and are used as a cognitive tool for his that serve and both research and analysis.

Carlo Scarpa attended the Royal Academy of Fine Art in Venice before obtaining his Diploma of Professor in Architecture. Although he never gained a professional degree in architecture, he would later become a greatly influential architect. His work focuses heavily on light, color, and material in addition to choreographing a performance of his audience within his architectural design. The featured drawings of Scarpaâ&#x20AC;&#x2122;s show the sense of light,

Chapel at Castelvecchio / Section and elevation of entrance, pencil and crayon on brownline paper

+ Carlo Scarpa

Villa Ottolenghi

+ Carlo Scarpa

Brion tomb in San Vito dâ&#x20AC;&#x2122;Altivole / Study of the door, crayon on cartridge paper

+ Carlo Scarpa

Rudolph Schindler 1887-1953 Austrian-American

from 1910–13, studying with Otto Wagner and Adolf Loos, whose ideas about modern architecture permeated the school. But perhaps the biggest influence on the young architect was the work of Frank Lloyd Wright, who he later joined in 1918 before beginning his own practice in Los Angeles, CA.

Rudolph Michael Schindler was an Austrian-born American architect whose most important works were built in or near Los Angeles during the early to mid-twentieth century. Schindler was born in Vienna in 1887 and educated at the Bau-(Architektur) schule of the k.k. Technische Hochschule (Polytechnic Institute) in Vienna from 1906–11. Before he had finished his degree there, he enrolled in the k.k. Akademie der bildenden Künste (Academy of Fine Arts)

Schindler designed around 500 projects of which about 150 were built. Many other projects included a collaboration of works with the famous Richard Nuetra. These were largely single-family houses, although there were some apartments, small commercial buildings, and a single church. Few clients were quite as radical in their tastes as Schindler was himself and in addition Schindler developed ways to make inexpensive modern architecture out of cheap materials—stucco and plaster over wood frame. Rudolf Schindler is associated with the one of the greatest pioneers in the California modern movement. His inventive use of complex three-dimensional forms, warm materials, and striking colors, as well as his ability to work successfully within tight budgets placed him as one of the true mavericks of early twentieth century architecture.

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Rudolph Schindler

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Rudolph Schindler

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Rudolph Schindler

Dan Slavinsky <<currently experimenting>> http://uk.linkedin.com/pub/dan-slavinsky/37/764/741

We don’t know much about this artist, but his drawings can tell more than words. The stunning portfolio that you can find at his blog features his works with small descriptions. The name of this artist is Dan Slavinsky and the works we are interested in are architectural concept renderings. The whole title of the series of these images is “A Series of Drawings from the End of Time Bartlett, London 2010”. As you see, not too much information, but let’s return to his wonderful art. Each image is a sophisticated rendering of the fantastic concept. All these spirals, geometric lines

along with science-fiction motives create the original mood and underline the talent of their creator. Let’s check out the aesthetics of these drawings by Dan Slavinsky together!ex in sem consequat, eget pulvinar libero faucibus.

Don Quixote / http://motorcandy.blogspot.com/2010/12/dan-slavinsky.html

+ Dan Slavinsky

Ornamental Garden / http://motorcandy.blogspot.com/2010/12/dan-slavinsky.html

+ Dan Slavinsky

Ornamental Garden / http://motorcandy.blogspot.com/2010/12/dan-slavinsky.html

+ Dan Slavinsky

LAURA ALLEN & MARK SMOUT SMOUT ALLEN American

Mark Smout and his partner, Laura Allen, are principals at Smout Allen and are Senior Lecturers at the Bartlett School of Architecture, University College London. Their work takes two routes, architectural competitions, where the particular rigor of the competition brief, site and program provide the basis for new investigations and, conceptual design projects which test out the agenda and methodology of the design research practice. Smout Allen focuses on the dynamic relationship between the natural and the man made and how this can be revealed to enhance the experience of the architectural landscape.

Sectional isometric view of the Wet Lands project / Extremes of water scarcity and abundance in Londonâ&#x20AC;&#x2122;s fresh-water supply and floodplain are buffered by a series of architectural and technological interventions

+ SMOUT ALLEN

Plan drawing for the Lanzarote Project / The aim was to generate energy for Lanzarote using hydrological processes: like the Thames Gateway project, it is a response to climate change and its effects on water in the landscape

+ SMOUT ALLEN

BLUE REVENTMENTS/A drawing for the Retreating Village project. Like many of their projects, the starting point was an ecological process: in this case, erosion

+ SMOUT ALLEN

RED HULK ELEVATION / Elevational view from the cliff edge for Retreating Village project

+ SMOUT ALLEN

WET LAND PLANS

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Neil Spiller

doing, practicing, and excersising our ethical concerns in relation to architecture.” The featured drawings demonstrate his expressive, yet precise way of working through analog representation in conjunction to technology and science. The work reaches past what Spiller calls the status quo of the twenty-first century to find new ways of communicating through architectural representation, and new forms in architecture. He combines the virtual and the actual in his work, and seeks to find spaces where the two can inform one another.

Neil Spiller is currently Dean of School of Architecture, Design and Construction at the University of Greenwich and Professor of Architecture and Digital Theory. Prior to this he was Vice-Dean and Graduate Director of Design at the Bartlett School of Architecture, University College London. He is also known for being the founding director of AVATAR (Advanced Virtual and Technological Architectural Research) Group. Spiller’s work focuses on finding “new ways of seeing,

Sustainable to Evolvable / Reflexive Urbanism

+ Neil Spiller

Baronessâ&#x20AC;&#x2122;s Filaments

+ Neil Spiller

Walled Garden for Lebbeus

+ Neil Spiller

James Stirling 1926-1992 Scottish and British Architect

office, he showed a renewed interest in the social and cultural aspects of architectural form, and hence in its contextual appropriateness. The contextual and technical aspects are finely balanced in a project for an Arts Centre (1971; unexecuted) at the University of St Andrews. In 1971 Stirling took his associate Michael Wilford (b 1938) into partnership; their projects for various German clients integrated contextual and historical aspects into the designs, maintaining a fine balance between the resonances of past and future. The success of this approach is perhaps most readily evident in the design for the Staatsgalerie (1977â&#x20AC;&#x201C;84) at Stuttgart, where the main volumes conform to the original museum but entrances and other elements suggest a modern sense of dissonance and improvisation. Stirling graduated in architecture from the University of Liverpool after service in World War II. During the next six years he worked in London, mainly with the firm of Lyons, Israel and Ellis, and in 1956 he started his own practice in partnership with James Gowan, then a colleague in the same office. With their first major commission, a group of flats (1957) at Ham Common, London, Stirling and Gowan established a reputation for forthright design. After 1969, when Leon Krier spent some time in Stirlingâ&#x20AC;&#x2122;s

The later work of Stirling and Wilford shows increasing mastery in the ability to contain both technological and traditional elements within a consistent but flexible modern style. He was a master in the combination of opposites, and the balance achieved in his work was a fusion between the requirements of the building programme and the prompting of a powerful architectural sensibility. Stirling achieved wide recognition from his professional colleagues, culminating in the award of the RIBA Gold Medal in 1980.

(cited from Robert M. Maxwell, Oxford University Press)

Office for Siemens AG / Stirling often used drawing as a way to further investigate and study design ideas.

+ James Stirling

Florey Building, Queenâ&#x20AC;&#x2122;s College / Drawings done with Michael Wilford Fonds.

+ James Stirling

Olivetti Headquarterâ&#x20AC;&#x2122;s, Milton Keynes / Drawing done with Leon Krier.

+ James Stirling

Superstudio

in Graz, Austria. Lorem ipsum dolor sit amet, consectetur adipiscing elit. “In the beginning we designed objects for production, designs to be turned into wood and steel, glass and brick or plastic - then we produced neutral and usable designs, then finally negative utopias, forewarning images of the horrors which architecture was laying in store for us with its scientific methods for the perpetuation of existing models.” This was how Superstudio described its work in a catalogue the group produced to accompany the 1973 exhibition Fragments From A Personal Museum at the Neue Galerie

Superstudio’s thinking has proved more enduring than the group itself. Quaderna tables are still in production at Zanotta and Superstudio’s collages and drawings have been acquired for the permanent collections of Centre Georges Pompidou in Paris and the Museum of Modern Art, New York. Moreover the group’s once radical theories about architecture’s environmental impact, the potentially negative consequences of technology and the inability of politics to untangle complex social problems are now considered to be core concerns by self-aware contemporary architects and designers.

Cube of Forest on the Golden Gate/ http://imgkid.com/superstudio-life-without-objects.shtml

+ Superstudio

Supersurface/ http://arch122superstudio.blogspot.com/2012/06/superstudio.html

+ Superstudio

The continuous monument / http://arch122superstudio.blogspot.com/

+ Superstudio

Bernard Tschumi 1944-present Swiss Architect

Bernard Tschumi (b. 1944) is a French-Swiss architect. He received his degree from ETH Zürich in 1969 and was the Dean of the Graduate School of Architecture, Planning, and Preservation at Columbia from 1988-2003. He is frequently associated with deconstructionism, and his writings and work focus on the relationship between architecture and the event. This was most prominently explored in The Manhattan Transcripts (1981), where he explored an architectural interpretation of reality. Plans, sections, and diagrams outline paces and indicate movements of

protagonists intruding into an architecture “stage set.” This project was to transcribe things normal removed from conventional architectural representation, namely the complex relationship between spaces and their use, between “type” and “program,” between objects and events. The ideas developed in these transcripts were implemented in Tschumi’s winning proposal for Parc de la Villette in 1982 (which also coincided with the establishment of his own practice, Bernard Tschumi Architects). The design for the park was meant to design spaces for culture rather than nature, with elements of the park supporting and manipulating interaction between users and site, organized by a grid of 35 follies. The drawings of Tschumi develop the idea of the event within architecture, and to explore architecture’s role as a tool to question and revise the social structure within it. “Any relationship between a building and its users is one of violence,” Tschumi writes in Architecture and Disjunction (1996), “for any use means the intrusion of a human body into a given space, the intrusion of one order into another.” For Tschumi, architecture and the inhabitation of architecture are not mutually exclusive, but rather the relationship between the two has the potential for new types of interaction to be explored.

Manhattan Transcripts / A study of human movement and how it can inspire spacial relationships.

+ Bernard Tschumi

Manhattan Transcripts - Continued

+ Bernard Tschumi

Volumetric Notation: National Theatre of Japan/ A study of form and its effects on spacial constraints.

+ Bernard Tschumi

Parc de la Villette/ The park map displaying an extrusion of grid and subsequent follies.

+ Bernard Tschumi

Robert Venturi Venturi, Scott Brown and Associates 1925-present American Architect

published in 1966, Venturi writes that "As an architect, I try to be guided not by habit but by a conscious sense of the past—by precedent, thoughtfully considered." He continues later, "As an artist, I frankly write about what I like in architecture: complexity and contradiction. From what we find we like—what we are easily attracted to—we can learn much of what we really are.” Venturi is an architect whose work cannot be categorized; to him, there is never a single solution. Lest anyone try to pigeon-hole him as a postmodernist, he declared that he was practicing modern architecture, while still giving importance to human use, memories, comfort and entertainment.

A 1950 graduate of Princeton University, Robert Venturi challenged the rigidity of modernism and promoted the richness and ambiguity that history provides in architecture. He worked in the offices of Eero Saarinen and Louis Kahn before establishing his own firm, Venturi was heavily influenced by, but rarely associated with, modern architecture. One of his first notable projects, a house for his mother, received much attention for its prominent use of ornamentation on the facade. In the introduction of his first book, ‘Complexity and Contradiction in Architecture’,

Robert Venturi's wife and partner, Denise Scott Brown, has been his collaborator in the their evolution of architectural theory and design. They worked on another book, ‘Learning from Las Vegas,’ with Steven Izenour, and explored the conditions of urban sprawl, suburbs, and signage in relation to their architectural theories. While the work produced by Venturi is too rich and vast to describe in this short bio, his ideology as a designer and theorist can best be described by his own quote: "When I was young, a sure way to distinguish great architects was through the consistency and originality of their work...This should no longer be the case. Where the Modern masters' strength lay in consistency, ours should lie in diversity."

Learning From Las Vegas / Drawings depicting their theory of the building as a decorated shed.

+ Robert Venturi

National College Football Hall of Fame / A design to depict the building as the billboard.

+ Robert Venturi

Michael Webb Archigram b. 1937 English

he was a founding member in 1963. In Archigram, Webb along with Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, and David Greene, drew inspiration from modern technologies and pop culture to create a series of hypothetical, neofuturistic, and consumerist projects as a reaction against the prevalence and sterility of modernism. Their work was meant to to be “a new architecture that would stand alongside the spacecapsules, the inflatable structures and the lifestyles of a new generation.”

Michael Webb (b. 1937, Henley-on-Thames) is a British architect and founding member of Archigram. He studied at the Royal Polytechnic Institution, and took seventeen years to complete the 5-year curriculum. One of his projects as a student, entitled The Sin Center, received a failing grade but ended up on display at a 1962 MoMA ‘Visionary Architecture’ exhibition. This project explored the relationship of bringing together different ‘popular culture’ elements in relationship to the automobile. Webb continued this interest as a member of Archigram, which

In his own work, Webb has studied linear perspective, most notably in his Temple Island projects. In this project, Webb attempts to layer different depictions of a landscape in a single drawing. By working from a two-dimensional photograph as the ‘site’ (as opposed to a three-dimensional habitable landscape), Webb interprets different ‘speeds’ of a rowing regatta as an elevation, as both a reality within the photograph and the perception of it from the viewer. The result is a series of images that test the relationship of time, and well as distance, to the page. As a result, the Temple Island projects challenge the conventions of traditional architectural perspective.

Sin Palace (1962) / Plan drawing depicting the relationship between the programs and the automobile.

+ Michael Webb

Sin Palace / Section

+ Michael Webb

“Site” Photograph of the Royal Henley Regatta / Webb used this postcard photograph to create his ‘Temple Island’ perspective drawings (obtained from his lecture slides)

+ Michael Webb

Temple Island / Perspective Study

+ Michael Webb

Rent-A-Wall, Archigram 7, 1966 / A drawing as an advertisment, this image depicts space through the use of two-dimensional planes and figures.

+ Name of the Architect

Cushicle, 1967 (oil on canvas) / this painting shows the technology of an inflatable suit, that can be used at a range of scales, from clothing to an inhabitable house.

+ Name of the Architect

Lebbeus Woods 1940 - 2012 America

Locus of Memory / A one to two sentence description of the drawing goes here.

+ Name of the Architect

Icebergs / A one to two sentence description of the drawing goes here.

+ Name of the Architect

City of Water / A one to two sentence description of the drawing goes here.

+ Name of the Architect

Mas Yendo 1957-Present Japanese

Theoretical models derived from the natural sciences tend to overlook significant characteristics of the physical environment and their effects on human occupants. Often, technologies are imagined to fulfill human needs that remain, in fact, completely unsatisfied. We must therefore think of a place as a qualitative, total, existential phenomenon. Existential space: this is the basic relationship between man and his environment.”

“What I speculate in my work is that new technologies will play an important part in how architects embrace new ideas. The advancement of seemingly unrelated sciences such as biochemical engineering, coupled with the growing consciousness of environmental issues, furthered by the development of mechanical design, must serve to inspire creativity. Under the sway of abstract scientific theories, architecture has lost its connection to the concrete experience of space.

Born in Tokyo, Japan in 1957, Mas Yendo attended the Rhode Island School of Design (RISD) (BA) and the Pratt Institute where he received his Masters of Architecture degree. His work is inspired by the aesthetics of machinery, hardware, and post-apocalyptic possible worlds that have appropriated machines for inhabitation and the spectacle of a science fiction-like future. His drawings often allude to a grungy, dark possibility, in the event of an ecological disaster, or the possible collapse of consumerism. However, his drawings also emit an optimism, one that uses drawing to push back on limiting conditions of today’s global culture. He won the “Sidney Katz Award” for design in 1989. He is also an invited lecturer at the Pratt Institute, University of Innsbruck, the Bartlett School of Architecture, and SCIARC.

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Mas Yendo

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Mas Yendo

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Mas Yendo

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Mas Yendo

Title Of Drawing in Bold / A one to two sentence description of the drawing goes here.

+ Mas Yendo