Märkli: La Congiunta

Märkli Sketchbook, La Congiunta cover 0

This free Drawing Matter IBook presents two sketchbooks that Peter Märkli kept while he was working on La Congiunta (1992), a small gallery for the work of the sculptor and his mentor Hans Josephsohn in the village of Giornico, Switzerland. This isolated building is located in a beautiful valley, and the atmosphere of this mountainous rural setting as both a real and imaginary place is evident in the series of drawings and annotations that work through his early thinking on the form, proportions, planning and presence of the building. 

James Wines: Ghost Parking Lot

James Wines, Ghost Parking Lot, 1977, DM 2293 IN SET

At a time when much architectural drawing concentrated on clear and precise line work, Wines’ approach is pointedly focused elsewhere. Crisp lines that coherently communicated not only an analytical procedure but also an entire linguistic system were a key feature of formalist architectural drawing of the 1970s. Wines’ murky lines stand in marked contrast to such didactic clarity. While contemporaneous formalist drawings wield their hard edges to analyse and decompose architectural objects with the knife-edge precision of a surgical procedure, Wines’ drawings use a duller tool, the muddy crosshatch, to speculate how such architectural objects inhabited their own environments. – Christina Gray

Jesse Reiser on Aldo Rossi

Aldo Rossi, Composition with Modena Cemetery, copy by Jesse Reiser, 1979, DM 2287 IN SET

He took me to the art supply store and he was pulling gouache tubes out and I was completely shocked because they didn’t match the other drawings of Modena in terms of colouration or palette. It was a strange combination of colours that I was convinced wouldn’t work. It was a mixture of beiges and tans in the background. This was a drawing for America, that is how I saw it. This was a way of being specific yet general enough to transcend site or place, sort of like the Hopper. Then he would have a strange abstraction of what he saw as local colour, a weird mixture. He had what seemed to be combinations from Good Housekeeping or Ladies Home Journal, or like in the Birdcage restaurant at Lord and Taylor. I mean, you would see this palette in what were then called ‘restaurants for ladies’, which, ironically, were an attempt by American designers to be European in a tasteful way – or what they thought was European. – Jesse Reiser

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