Nicholas Grimshaw

Arthur Phillip Vertical High School, Sydney, 2017

Nicholas Grimshaw, Arthur Phillip Vertical High School, [2017] IN SET

This axonometric of the Arthur Phillip High School illustrates the very inner workings of the building. Stripped bare of its materiality – the steel and concrete frame, the inner and outer facades and interior finishes – to reveal the network of elements which make the building come alive. These vital organs are the inner services: the heating, cooling, breathing, lighting, security and emergency services which add that additional layer of comfort, safety and security for occupants. In this image these vital organs are displayed in their own right as they define the spaces of the school that they serve; coloured according to their function, as an educational tool for students. – Nicholas Grimshaw

David Kohn

Gateway to Hounslow, 2013

David Kohn Architects, Hounslow Pavilion 2, 2013 IN SET

These two drawings of the Hounslow gate, however, belong to a different kind of drawing, which happens less frequently, possible only every few months. It often happens at a moment in the design process when progress is slowing, the range of issues we are exploring seems too restricted, a sense of playfulness too distant. Such drawings are made in isolation, on blank pieces of paper, usually after I’ve organised my week and then my desk. There’s a scale ruler and a Tipp-Ex pen involved; an expectation of precision, at least in terms of proportion, the hierarchy of parts and the role each element will play in the composition. The whole is sketched out lightly and the primary divisions follow. Then I will likely work through scales, from the bodily to the decorative, from texture to colour. Perhaps most importantly, the stages of the drawing reflect the range the architecture is expected to cover, the different scales, elements, technologies, materials, craftspeople and traditions. Unlike the conversational sketches, these drawings are more like rhetorical statements. They describe wholes and not fragments. – David Kohn

Remembered Space

Studio Works by Celia Scott

Celia Scott, Threshold III, 2018 IN SET

Within the formal modernist canon, it was only works on paper or canvas that were permitted to explore the dangerous suggestibility of perspective and spatial illusion that challenged the integrity of the frontal plane. So, appropriately, Celia Scott has produced a number of screenprints that play with transparency in blocks of colour that mask or reveal the bolder surface elements, while in the woodcuts she enlivens simple perspectives with the rubbed-down textures of wood grain that challenge or emphasise vertical and horizontal planes. Drawn lines are not added to these prints: rather the perspectival angles are left as negative margins revealing the base colour of the image, as in Threshold III, 2018. ... This is an exhibition where the spectator can indulge in the sorts of aesthetic pleasures that are often denied us in the conceptual clever-cleverness and garishness of postmodernity. Scott’s memories of architectural spaces and places would be very pleasurable to live with. – Deanna Petherbridge

Drawing Matter

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