Johan Celsing (*1955), On Erik Gunnar Asplund's Woodland Cemetery sectional studies, 1935, 2019. Epoxy resin.
Gustav Appell Arkitektkontor (*2007), On Erik Gunnar Asplund's Villa Snellman, Djursholm, 1917, 2018. Wood.
Tony Fretton (*1945), Tony Fretton on Erik Gunnar Asplund's Stennäs, 1937, 2018. Wood.
Christ & Gantenbein (*1998), Emanuel Christ (*) and Christoph Gantenbein (*), On Louis Kahn's Kansas City Office Tower, 1972, 2018. Model.
Office Winhov (*1993), Uri Gilad (*1977) and Jan Peter Wingender (*1965), On D.H. Burnham & Company's City State Bank Building addition, Chicago, 1927, 2019. Model.
Baukuh (*2004), Paolo Carpi (*1974), Silvia Lupi (*1973), Vittorio Pizzigoni (*1975), Giacomo Summa (*1976), Pier Paolo Tamburelli (*1976) and Andrea Zanderigo (*1974), On John Hejduk's Drawing for 'Fabrication': Energy, 1972, 2018. Model.
David Kohn (*1972), On John Hejduk's Wall House, 1972, 2019. Model.
Stephen Bates (*1964), On Cadbury-Brown's Royal College of Art extension, 1972, 2018. Plaster.
Jonathan Sergison (*1964), On Carlos Diniz's HIllrise Apartments, Honolulu, 1970, 2018. Model.
Bardakhanova Champkins (*2010), Virgilio Marchi, Cinema Odeon, Livorno, 1940, 2018. Model.
Conen Sigl Architekten (*2011), Maria Conen (*1979) and Raoul Sigl (*1978), On Giuseppe Chiantarelli's Casa Pseudourbana: wall decoration from Pompeii,1795, 2019. Model.
Tom de Paor (*1967), On Hans Poelzig's Grosses Stadspeilhaus, Grosses Schauspielhaus, Theater der Massen, Berlin, 1919, 2018. Cardboard and paper clip.
Caruso St John Architects (*1990), Adam Caruso (*), Peter St John (*) and Siw Thomas (*), On Hans Poelzig's sketches, c. 1920s, 2019. Ceramic.
Hans Poelzig (1869–1936), Grosses Schauspielhaus, Theater der Massen, 1919. Black pencil on paper, 190 × 270 mm.
Paul Robbrecht (*1950), Hilde Daem (*1950) and Johannes Robbrecht (*1977), On Corbusier's Chapel de Notre-Dame-du-Haut, Ronchamp: plaster model of the south wall, 1950, 2018. Plaster.
Acknowledging that architecture is a corpus of inherited ideas, Alternative Histories invited more than 80 contemporary practices in the UK and Europe to imagine an exchange with architects from the past. Each office was assigned a different drawing from the collection of Drawing Matter – from the frontispiece of the abbé Laugier’s 1753 Essai sur l’architecture, a plan of the Villa Snellman, to studies for a theatre by Carlo Scarpa. The architects were then tasked with making a model that not only responded to what they saw, but envisioned an alternative future for the original drawing while adhering to the constraints of the project: although comprising different materials and scales, the models had to be transportable, and their footprints had to fit within the surface area of the historic drawings.
Taken as a whole, the responses challenge the facile understanding of concepts of reference, history or influence as drivers of contemporary architectural thinking. From methods to materials, the project opens up not only new ways of looking at the past, but also a series of conversations about how architects today shape their present.
The project was co-curated by Jantje Engels and Marius Grootveld in collaboration with Drawing Matter and the Architecture Foundation, London. It was first presented at Cork Street, London and then CIVA, Brussels.
A catalogue of the models and drawings was published to coincide with the exhibition at CIVA; it can be purchased from our shop here.
ALTERNATIVE HISTORIES IN LOCKDOWN
As part of the Architecture Foundation’s 100 Day Studio, Drawing Matter and curator Marius Grootveld have invited four groups of Alternative Histories participants to contribute to series of online conversations exploring ideas around Order, Assembly, Nature, and Ambiguity.
More information about the 100 Day Studio and how to attend a session can be found here.
Alternative Histories 1: Order
Thursday 28 May, 13:00-14:00
Alternative Histories 2: Assembly
Thursday 11 June, 13:00-14:00
Alternative Histories 3: Nature
Thursday 25 June, 13:00-14:00
Alternative Histories 4: Ambiguity