Toyo Ito and Associates, Architects: National Taichung Theatre

Architecture as as 'Instruction-based' Art, Royal Academy Summer Exhibition 2017

Toyo Ito, National Taichung Theatre, Coordinates of Trusswall on Catenoid, 2005–2016 IN SET

While we were designing this building, we repeatedly resorted to digital technology to analyse the unique structure. At the same time, we built physical models to validate its construction feasibility, which we could not visualise in the drawings. When the construction began, the discussion with the local contractor offered yet more specific and efficient construction methodologies. Integrating such information, the drawings became media that we updated every day to examine its geometrical conformity to the other systems, such as design, structure, electrical, air conditioning, mechanical, fire protection, and theatre equipment... As the drawings even came to include the instructions for the construction, we ultimately noticed that what was needed to achieve the smartly represented digital model and quasi-organised drawings was rather the repetition of steady discussions and patient manual works. – Toyo Ito and Associates, Architects

Freestanding: Sigurd Lewerentz

Venice Architecture Biennale 2018

Lewerentz 1.jpg

Everything is luminous. Light drops drops down from the skylights opened up by the Biennale's curators, and seeps over the polished concrete floor. It reflects off the white surfaces of Gipp's scenographic intervention to be absorbed into the shadows of the artefacts on the walls – newly commissioned photographs by Mikael Olsson and indiscernable facsimiles of drawings by Sigurd Lewerentz – which reveal the subjects of Freestanding. These are three canopies designed to capture the shadiness of a woodland glade; each is closely adjacent to, but standing just free from or delicately touching, a church by Lewerentz: the Chapel of the Resurrection at the Woodland Cemetery, Stockholm (1925); the Chapels of St. Knut and St. Gertrud at the Eastern Cemetery, Malmö (1943); and St. Mark’s Church at Björkhagen, Stockholm (1960). – Helen Thomas

Aldo Rossi: Cabina Construction

Readymades Belong to Everyone: Swiss Institute New York

Rossi, Cabina

The blue and pink cabin suffers from a few structural/constructional inadequacies. The first of these to be noticed is the door which binds within in it's ‘frame’ (there is no frame as such; the short strap hinges simply hang off the boarding). The vertical boards which make the door have visibly slumped and the reason is immediately apparent: the entire structure of the door is reliant upon the diagonal brace and this has been attached the wrong way around, with the top end at the hinge side rather than the bottom... In order to introduce a little support to the structure, whilst taking away as little as possible from the original construction, we decided to retain the single screw arrangement and non-functional brace of the door. We replaced the screws with longer versions to give us a chance of retaining the door shape through the friction between the board and brace. – Tom Graham

The Rossi Cabina is currently on loan to the Swiss Institute, New York, as part of the exhibition Readymades Belong to Everyone (23 June – 19 August 2018). 

Drawing Matter

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