Tony Fretton on the Lisson Gallery, May 8 Courtauld

Fretton 6

The weakness was that nowhere could one hear the voice of the architect talking about the project itself – its genesis as a commission; its genetics at that particular point in their career; the development and methodology of the design; it being built, or not; of how it had informed their later work, and thinking about practice; and (for better or worse!) about how it might have come to define public perception of their buildings. At the Courtauld we want to replay these histories in a way that is most useful to students who are about to settle into their own careers – reflective and informal, and based on design material produced at the time re-examined with the help of an interlocutor.

January 21, in 8.44 / out 8.16, until May 8 Princeton

Drawer 1 crop

Alongside we see Blore, proposing here that the Gothic cathedral originated in nature, still as Märkli measures and delineates, through intuitive geometry, a sort of private language; and these underlined by what might now be considered one of the most idealistic dome proposals of the twentieth century: Alvaro Siza’s quarter-sphere for a collective structure within the Malagueira housing complex, in the aftermath of the post-Carnation revolution in Portugal, which considers the sphere in relation to the aqueduct that would run through the complex.

Roz Barr Architects

Roz Barr Architects, Kirkton Steading, Scotland, 2013 IN SET

In 2012 a client sent me a photograph of a site in rural Scotland, which consisted of an existing steading next to the ruin of a medieval kirk. My visceral response to the photo was a tower. The monolithic form of the proposed tower was similar in scale and size to that of the steading building, and constructed in the same hand-set stones from the same site. The fenestration became a hindrance to the essential idea of the tower, since framing views from the inside seemed pointless, obsolete in relation to the constant presence of the surrounding landscape. This concept of suppressing the fenestration led to a series of cast maquettes, and the act of casting depicted the verticality of the stone coursing that we hoped to achieve. By casting into the plaster we could experiment with the position of openings, though my preference was always to have none.

Drawing Matter
www.drawingmatter.org

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