Category: commentaries, rants & reflections

Retail Therapy

Retail Therapy

A. Trystan Edwards

In architectural design the size of the human unit must always be borne in mind. It is nowhere more necessary to observe this maxim than in the determination of the scale of shop fronts, for here not only is the tendency to an undue magnification of parts most strongly encouraged… Read More

Peter Blake & Adolfo Natalini: From Mies to Mickey Mouse

Peter Blake & Adolfo Natalini: From Mies to Mickey Mouse

Peter Blake

Sometimes, in the space between the archive and the library at Shatwell, we make nice conjunctions. Here together are Peter Blake in 1992, old and very angry, writing for Abitare about the decline of architecture in late twentieth-century America; and Adolfo Natalini in 1972, young and thrilled to have got there, sketching… Read More

Behind the Walls

Behind the Walls

Matthew Page

Albert, an artist known only by his first name, thinks about buildings in ways similar to an architect. As he draws, he imagines the structures on the page having a future life in bricks and mortar, considering as he does so whether the audience for his drawings will ask themselves,… Read More

Summerson: The Little House

Summerson: The Little House

John Summerson

– John Summerson, ‘Heavenly Mansions: An Interpretation of Gothic,’ in Heavenly Mansions, and other Essays on Architecture (New York: W. W. Norton, 1963), 1-3.

Sky Architecture

Sky Architecture

On this day in 1933, a certain gorilla scaled the Empire State Building. King Kong might have had an easier time if he had taken the lift. This design for the elevator shaft, by Shreve, Lamb and Harmon, is held in the Drawing Matter collection. Here are are more examples… Read More

Seeing, and Disbelieving

Seeing, and Disbelieving

Niall Hobhouse

It is easy enough to say that the analysis of any architectural drawing begins with asking what it is for. But trying to answer this innocent question, which applies equally to the purpose for which the drawing was intended and for which we are now looking at it, presents many… Read More

Behind the Lines 14

Behind the Lines 14

Philippa Lewis

These are just insignificant sketches, but they remind me of the Exposition Internationale des Arts et Techniques in 1937; by night it was a unique experience – mémorable. You see, one theme of the exposition was light and water: an expression of what could be achieved with the power of modern electricity,… Read More

Battersea

Battersea

In Bat-Hat, our project for Battersea Power Station, we have divested the existing building of all that froze the immediate site, leaving only that which is considered important – its height and familiar profile. Excerpted from Cedric Price, Works II (London: Architectural Association, 1984), 90.

Origins in Translation

Origins in Translation

Mari Lending

Broken bits of ancient architecture piled up in the foreground of a printed page is a topos in the canon of architectural publications. An early example takes place in the frontispiece of Sebastiano Serlio’s book on antiquities. Produced for the first edition of the third book, written in Italian and published in… Read More

A Chevrolet Truck

A Chevrolet Truck

Stephen Bayley

It was the architect Philip Johnson who first compared cars to statuary. In the ‘Eight Automobiles’ show he curated at the Museum of Modern Art in 1951, he coined the expression ‘rolling sculpture’. Johnson was good at coinages: two decades before he had given us ‘the International Style’ to describe… Read More

Watkin on Milizia: Frontispiece to The Lives of the Celebrated Architects, Ancient and Modern

Watkin on Milizia: Frontispiece to The Lives of the Celebrated Architects, Ancient and Modern

David Watkin

The illustration on the title page to the Vite is striking and can be seen as a preparation for that of Pugin’s Contrasts (Sailsbury 1836). Milizia depicts a crowded scene in which, on the left hand side, a Corinthian portico and Laugier’s primitive hut, fashioned from trees and branches, represent Antiquity and Nature. Pallas,… Read More

One Small Sketch for Mankind

One Small Sketch for Mankind

Stephen Bayley

Raymond Loewy’s contribution to NASA was not rocket science. It was one small sketch for mankind. But, like everything the designer ever did, the real significance of these fascinating sketches was outrageously bigged-up by their author. In his blindingly flashy oeuvre, their status is comparable to his (infamous) work for Coca-Cola.… Read More

Other Lives: Charles Eisen and Laugier’s Essai sur l’Architecture

Other Lives: Charles Eisen and Laugier’s Essai sur l’Architecture

Rebecca Williamson

One of the best-known drawings related to the discipline is the ‘allegory of architecture’, drawn by Charles-Dominique-Joseph Eisen and engraved by Jean-Jacques Aliamet. [1] The original is now in the collection of Drawing Matter. Aliamet’s engraving serves as the frontispiece to the second edition of Marc-Antoine Laugier’s Essai sur l’architecture, and was included… Read More

A Dose of Dosio

A Dose of Dosio

Laura Harty

Tightening the belt, lean-manufacturing, ‘trimming the fat’. These are guiding principles of instrumentalised, technocratic systems termed by French sociologists as dégraissé – translated literally ‘degreased’ or ‘defatted’, but also figuratively understood as streamlined, purified and uncontaminated. [1] Instinctively, however, we know that flavour resides in fat. Thoughts of feasting, and midwinter delicacies, wallow… Read More

Surface-oriented

Surface-oriented

Rosa Nussbaum

My desk is a bit like an island: it could just as well be in some other country as here. —Italo Calvino The here in question is a narrow room occupying the top floor of a three-storey house on the southern fringe of Montparnasse. Heavily laden bookshelves and strategically placed objets extend along the… Read More

Six Architects on their Dream Desks

Six Architects on their Dream Desks

Roz Barr, Biba Dow, Elizabeth Hatz, Emma Letizia Jones, Stephanie Macdonald and Helen Thomas

Drawing Matter recently acquired this design for a table, below. Although the work’s last sale in 1972 attributed the drawing to Thomas Chippendale, we are (perhaps wishfully) hoping that it might be an architect’s own design for desk. The sheet set off a flurry of chatter about the platonic spaces… Read More

Aldo & Adolf

Aldo & Adolf

Aldo Rossi

And architecture itself? Architecture is still the central theme of Loos’s thought, and among his essays is a piece on the competition sponsored by the Chicago Tribune, a piece, which, like the one on the Michaelerhaus and ‘Ornament and Crime,’ is essential to the understanding of the meaning of architecture. This… Read More

Adolphe Appia: ‘Luminous – Very Luminous’

Adolphe Appia: ‘Luminous – Very Luminous’

Ross Anderson

I. In a melancholy mood, the Swiss scenographer Adolphe Appia sat down at his drawing table in the little bed-sit he was renting in Geneva and took up his pencil and a little hardbound notebook to write down his ‘notes personelles / 1905’: ‘At my age, that of forty-three, I… Read More

Ernest Gimson: Against Hotch-Potch

Ernest Gimson: Against Hotch-Potch

Annette Carruthers, Mary Greensted and Barley Roscoe

When Ernest Gimson applied to join the Art Workers’ Guild in 1891 he described himself as a ‘decorator’, and it is clear that interior decoration and furnishing remained vital to him throughout his life as part of his vocation as an architect. His were not the fully coordinated decorative schemes… Read More

Francesco Milizia on Maderno, Posi and Jonson

Francesco Milizia on Maderno, Posi and Jonson

Francesco Milizia

The first edition of Francesco Milizia’s Le vite de’ più celebri architetti d’ogni nazione e d’ogni tempo, known in English as The Lives of the Celebrated Architects, Ancient and Modern, was published in Rome by Paolo Giunchi in 1768. Clearly an eighteenth-century incarnation of Vasari’s Lives of the Most Excellent Painters, Sculptors, and… Read More

Hide-and-Seek

Hide-and-Seek

Iris Moon

The square and compass have long been architecture’s symbols of the trade, but practitioners sometimes used scissors to shape space. French architect Pierre-François-Léonard Fontaine made this cut-out paper model of an interior in or before 1804, the year in which his famous client, Napoleon, became emperor. It represents a simply… Read More

What Lies Beneath

What Lies Beneath

Sarah Handelman

‘The people of Sydney ought to be afraid of the sharks, but for some reason they do not seem to be,’ recalled Mark Twain in his 1897 Following the Equator. The travelogue was the result of an 1895 lecture tour that Twain, by then 60, had made of the British Empire… Read More

Tales from the crypt

Tales from the crypt

Stephen Bayley

The great mysteries are not the invisible things, but the visible ones. And to me, it is a great and fascinating mystery that the same architect, Giles Gilbert Scott, designed one of the world’s most awe-inspiring large buildings and one of its most exquisite small ones: Liverpool’s Anglican Cathedral and… Read More

Behind the Lines 13

Behind the Lines 13

Philippa Lewis

I selected a distant meadow in the midst of an empty landscape, barren and forlorn, to make a retreat for myself…. No sooner was the house completed than I knew it was not far enough away from everything I wished to leave behind…Later I sold the house and grounds for… Read More