Peter Wilson

Eurolandschaft – A Dérive: An Almost Sketchbook

Peter Wilson. Eurolandschaft – A Dérive, 1989. Page 5

The format is Japanese: a concertina sketchbook presented empty to me by Akira Suzuki shortly after the 1983 completion of our Tokyo Suzuki House design. The drawing format is also Japanese – influenced by our reading of Tokyo (documented in Western Objects + Eastern Fields, AA 1989)... Near the beginning of the fold-out sequence are images of one of the first stones we threw into the Eurolandschaft pond: three compact laboratory buildings. Insistent on their autonomy (anchors in the field) and their disconnectedness, they float in a bucolic landscape that we enhanced by planting an apple tree orchard across the site. High-voltage masts and the noble industrial giants of the Ruhr make walk-on appearances among the concertina folds... – Peter Wilson

Behind The Lines 4

An Estate of Villas, Streatham, c. 1825

Angelier, Sketch 1, Three Perspectives for Estate of Villas, Streatham, c. 1825, DM 1678.1 IN SET

Samuel peered closely at the pictures and wondered who exactly ‘Angelier’ was. He supposed some poor artist trying to earn a shilling or so by making Bowers’s investment look like a good proposition. Or perhaps he was an underpaid drawing master. He searched for another objection to his wife’s unpalatable suggestion and came up with the tendency of stucco to peel, its glaring paleness and his attachment to good London brick. ‘Yes, Samuel, dear one, but a villa must look like stone, and it is so very superior to a terrace. I so like the idea of a detached house surrounded by garden. We could plant a shrubbery. Some, Charlotte tells me, are in pairs, which are more economic, if less desirable.’ – Philippa Lewis

Adolfo Natalini

The Last Supper

Adolfo Natalini, Last Supper, 1972

Adolfo Natalini (*1941), The Last Supper, 1972. Typewritten text.

Drawing Matter

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