Dominique Perrault Architecte

Pavilion Dufour, Château de Versailles, 2015

Dominique Perrault, Developed horizontal wood blades 2, Pavilion Dufour, Versailles, [date]

Pavilion Dufour, Château de Versailles, Developed Horizontal Wood Blades, Wall Covering began as a working document, resulting from the exchanges and developments between the acoustician, my team and the company engaged to build the acoustical panels covering the walls of the auditorium. This document immediately caught my attention because it seemed to perfectly express the kind of research into technical performance we require in the design and construction of our buildings. But it was also, amazingly, the materialisation of auditory perception. Resembling a layer of vibrations in which the listener floats, this image is a representation of the blending of ultra-high performance and emotion. Even more than that, this technical working document dealing with acoustics also resembles a musical score. – Dominique Perrault

Clancy Moore Architects

Conversation Pieces, 2017

Clancy Moore Architects, Conversation pieces [date]

I have seen the photographs. Architect couples sketching side by side, a shared arm at work. We do not work like this. We sit on opposite sides of a table. This is not to set up some easy argument of oppositions. Instead it is intended to enable a conversation. Generally an existing drawing is offered as a shared territory to begin from. Sitting and talking into the drawing, a space is opened up. The borders of the drawing provide a place for each of us to work out or, in this case, into the project before us. As with marginalia, we draw from the edge towards the centre in order to critique and illuminate what is before us. This arrangement lends a necessary distance that allows the conversation to exist. We rotate the page only when necessary. – Colm Moore

Elena Manferdini

Ink on Mirror, 2016

Elena Manferdini, Ink on Mirror, Panel 3, 2016 IN SET

The tryptic Ink on Mirror is part of a collection of elevation studies developed over the past three years by my office, Atelier Manferdini. My reason for compiling a suite of digital sketches was rooted in the belief that for the past twenty years computers have been able to produce new geometrical forms that can no longer be understood solely through conventional representational devices like plans and sections. Buildings nowadays are made of multi-directional volumes that cannot be precisely oriented; and as a consequence canonical drawing conventions, like building elevations, have become ambiguous – some might argue even outdated. These three drawings were produced in rapid fire, one after the other, by tweaking values in the code. They remain, intentionally, somewhat abstract; their realm is that of ink, and their role is suggestive of a sketch rather than a true elevation. – Elena Manferdini

Drawing Matter

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