Scott and La Pietra

Ugo La Pietra, House of a Sculptor, 1962, DM 2007 IN SET – Drawing Matter

Ugo La Pietra (*1938), House for a Sculptor, 1961. Charcoal on paper, 250 × 350 mm.

In this drawing of his project for a house for a sculptor, Ugo La Pietra tries to criticise the boxiness of the standard house and the context of the city. Working to synthesise the forms and disciplines of art and architecture, he draws an enveloping free-form volume on pillars.

Robert Maxwell, Mother's House, 1993 IN SET – Drawing Matter

Celia Scott (*1947), Mother's House, 1993. Black ink on mylar, 594 × 841 mm.

This is a drawing of a retirement home for my mother. The rural south side of the house looked onto a field leading down to the river Cam, the mono pitch roof sweeping down with skylights to let in the sun. The house fronted onto the road, at the edge of the city of Cambridge, with three windows on the upper floor giving this side an urban presence. She lived there happily for twelve years, and after the house was sold, the new owners destroyed it to make way for a larger building.

These two drawings are poles apart. One is based on fantasy, one on fact. The house on stalks is fantasy, the drawing is a work of art in itself: it does not represent a house that one could return to with the day’s shopping. The axonometric drawing represents an everyday reality, but gives it an element of fantasy by treating it abstractly – a view of it that one would never encounter in life.

– Celia Scott


For more drawings of Ugo La Pietra's House for a Sculptor; on other works by Ugo La Pietra; on Pietra's submission for the New Domestic Landscape at MoMA in 1972; on artists' houses and studio projects, John LautnerBruce Goff, and Hans Hollein; and for more drawings by Celia Scott.