Instagram story viewer> @drawing.matter> Posts
Drawing Matter(@drawing.matter)'s profile avatar HD Profile

Drawing Matter

@drawing.matter

52.1K
followers
308
following
Exploring the role of drawing in architectural thought and practice.
Full texts and many more drawings on our website.
POSTS STORIES REELS
CRAIG HAMILTON: ON DRAWING ⁠ ⁠ Both to mark and celebrate Craig Hamilton’s generous gift of forty fascinating drawings to the Drawing Matter Trust, we are holding an exhibition and talks over two days in the archive. The informal display will include Craig’s own work and the drawings from the 17th-20th centuries which form his donation alongside complementary material from the Drawing Matter Collection.⁠ ⁠ On Friday 13 November, Craig will be in conversation with Ellis Woodman (Director, Architecture Foundation) to speak of the importance of drawing and the role of the drawings of earlier practitioners in the development of his own unique design practice (a recording will be available online following the event). On Saturday 14 November at 12.00, Craig will lead a tour of the exhibition (free, no booking required).⁠ ⁠ Friday 13 November⁠ Talk – Craig Hamilton: On Drawing (in conversation with Ellis Woodman)⁠ 18.00–20.00⁠ ⁠ Saturday 14 November⁠ Exhibition (Tour of the exhibition led by Craig Hamilton at 12.00)⁠ 11.00–18.00⁠ Free & open to all⁠ ⁠ Drawing Matter Archive⁠ 8 Smart’s Place, London, WC2B 5LW⁠ ⁠ Find out more about the event and buy tickets via the link in our bio. by @drawing.matter
IN THE COLLECTION ⁠ ⁠ Archizoom, Superonda Sofa, Villa Strozzi, Florence, Italy, 1966. Photographic print. DMC 2738.7.2. ⁠ ⁠ "A prototype for the Superonda was displayed as part of the ‘Superarchitettura’ exhibition in 1966. The sofa attracted the attention of Sergio Cammilli, owner of the furniture company Poltronova, who put their design into production. It was presented first at the VII Salone del Mobile, Milan in 1967, available in red, black, or white."⁠ ⁠ Explore the collection on drawingmattercollections.com by @drawing.matter
CRAIG HAMILTON: ON DRAWING ⁠ 13 & 14 NOVEMBER ⁠ ⁠ Both to mark and celebrate Craig Hamilton’s generous gift of forty fascinating drawings to the Drawing Matter Trust, we are holding an exhibition and talks over two days in the archive. The informal display will include Craig’s own work and the drawings from the 17th-20th centuries which form his donation alongside complementary material from the Drawing Matter Collection. A selection of Craig's own drawings and the material he has given to the Trust are shown here.⁠ ⁠ Friday 13 November 18.00–20.00 (purchase tickets via link in bio)⁠ Talk – Craig Hamilton: On Drawing (in conversation with Ellis Woodman)⁠ ⁠ Saturday 14 November 11.00–18.00 (Free and open to all)⁠ Exhibition with a tour led by Craig Hamilton at 12.00⁠ ⁠ Drawing Matter Archive⁠ 8 Smart’s Place, London, WC2B 5LW⁠ ⁠ Images:⁠ 1. Albert Richardson, A Fantasy of York Minster, UK, 1929. Ink pen and wash on paper, 578 x 521 mm. DMC 4015.⁠ 2. Cyril Arthur Farey, Interior perspective drawing of design for St. Mark's Church, Teddington, UK, 1939. Watercolour and graphite pencil on paper mounted onto board, 470x450 mm. DMC 4030. ⁠ 3. Albert Richardson, Design for the Quadrant, Regent's Street, London, UK, c.1912. Ink and watercolour with graphite pencil on paper, 540 x 646 mm. DMC 4016.⁠ 4. Unknown French, Inhabited section elevation drawing of Paris Mosque design, France, c.1925. Watercolour and ink on board, 460 x 1022 mm. DMC 4024. ⁠ 5 - 8. Craig Hamilton study drawings for Pall Mall. 2017.⁠ ⁠ Find out more about the event on drawingmatter.org⁠ by @drawing.matter
NEW TEXT ON DRAWING MATTER ⁠ ⁠ "Strictly speaking, this antinomy pits not only aesthetic desire against the three-dimensional realities of the world, but also geometric law against physical reality. Using scissors and paper, it is possible to create a configuration—shown in the middle of the sheet—in which two rectangles touch each other only at the corners. But this configuration cannot be constructed in three dimensions with sufficient accuracy: the eye will always be drawn to the point of contact, and it will always see that there will be deviations in the millimetre range at that point—because the point cannot be cast in concrete, because the components move, because one of the tips breaks off… There will always be a gap. Any serious craftsman will refuse to build such a point. The drawing shows how the problem can be circumvented in these or those ways, but the only technically clean solution would be a frame separating the two openings from each other—but then the configuration loses its appeal because the openings no longer touch each other."⁠ ⁠ Find two new texts on drawingmatter.org that discuss drawings from Holger Kleine’s ‘Psychograms_Eight Antinomic Studies’ series. The first was written in response to Drawing Matter’s open call Visibility, and the Unseen. The second is reproduced from Holger Kleine: Archimorphoses (Edition Axel Menges: Stuttgart and London, 2026). by @drawing.matter
So far this Autumn, we've delivered a diverse and exciting series of workshops and talks, both in and out of the archive. ⁠ ⁠ These have included workshops with the Architectural Association, Syracuse University, Paris-EST, Antwerp International School, NYU, Jas Bhalla Works, SAUL Limerick, UCL Bartlett, Spike Island Associates, London Metropolitan University and the Network Models Archive, Purcell, LSE, Leeds Beckett, and ARCSOC Cambridge.⁠ ⁠ Thank you to all of the tutors who have brought their students and invited us in! Looking forward to the next few months of student visits. ⁠ by @drawing.matter
IN THE COLLECTION⁠ ⁠ Pierre François Léonard Fontaine, Project for a National Cemetery, France, 1785. Pen and black ink with grey wash over a black pencil sketch, 197 x 900 mm. DMC 1522. ⁠ ⁠ "Durand was the assistant of the visionary architect and teacher Étienne-Louis Boullée (1728-1799), who as a jury member had probably suggested the theme for the 1785 Grand Prix de Rome, awarding art and architecture scholarships to the French Academy in Rome. The second prize was awarded to a moody and intense drawing for a funerary project by a student, Pierre François Léonard Fontaine, redolent with the Neoclassical style and ideas of Boullée. In his text Architecture, Essai sur l'Art ('Essay on the Art of Architecture'), written between 1789 and 1799, Boullée had exalted the poetic simplicity of the Egyptian pyramids, so close to the simple forms of the Platonic solids as was the sphere, the basis of his unbuilt cenotaph project for Isaac Newton. In the brief for the prize, he had probably reiterated the poetic force of an evening and 'mourning' sky setting.⁠ ⁠ Certainly, the exaggerated length of Fontaine's impressive drawing, with its huge range of greys and black tonalities and varieties of cut-through sections and perspectives, suggests an alternative and formal universe."⁠ ⁠ Description taken from Thames & Hudson's 2026 revised edition of Deanna Petherbridge's 'The Primacy of Drawing'. ⁠ ⁠ Explore the collection on drawingmattercollections.com by @drawing.matter
NEW TEXT ON DRAWING MATTER⁠ ⁠ Drawing Matter is excited to have recently acquired a drawing by Mark Fisher showing the backstage design for Pink Floyd’s ‘The Wall’ concert at Earl’s Court. The concert was first performed in 1980 at the Los Angeles Sports Arena and was toured to Nassau Coliseum (Long Island), and Earl’s Court (London); it further toured in 1981 to Westfallenhalle Dortmund before returning to Earl’s Court. In 1990, after the fall of the Berlin Wall, the concert was restaged on a site between Potsdamer Platz and the Brandenburg Gate.⁠ ⁠ The drawing is reproduced below alongside photographs, sketches from Mark Fisher’s sketchbooks, and other drawings relating to the stage design. Drawing Matter would like to thank Cristina Garcia for sharing this material with us.⁠ ⁠ Find 'Mark Fisher: The Wall for Pink Floyd' on drawingmatter.org by @drawing.matter
NEW TEXT ON DRAWING MATTER ⁠ ⁠ "Peter Eisenman arrived in Cambridge in 1960, on James Stirling’s suggestion. He planned to study with Colin Rowe, who had been appointed to the School in 1958. Eisenman was 28, had studied architecture at Cornell and Columbia, and was working for TAC, Gropius’s office. He had been placed eighth out of 450 in the Liverpool Metropolitan Cathedral competition. In 1963 he went back to the States, leaving behind a reputation as a powerful intellectual and a demanding teacher: a role model for professional life of the Cambridge kind. John Meunier’s theory lectures in 1968 included slides of pages from Eisenman’s PhD thesis ‘The Formal Basis of Modern Architecture’, presented in August 1963. I liked the images and looked at the thesis in the library at Scroope Terrace, though I confess I read little of the text. John wanted us to understand that individual buildings were often instances of types and their designs instances of ‘generic forms’, a term in common use in Cambridge at the time."⁠ ⁠ Find Richard Hill's text on drawingmatter.org by @drawing.matter
Thank you to everyone who came and contributed to our discussion of Ian Hamilton Finlay's work on Saturday. ⁠ ⁠ Conceived in collaboration with Michael Archer (Professor Emeritus, Goldsmiths College, University of London), the event explored Finlay's work, bringing it into conversation with material relating to Poetry, Art, Architecture, Gardening, and Landscape from the Drawing Matter Collection. ⁠ ⁠ Find out more about the event on drawingmatter.org by @drawing.matter
NEW IN THE COLLECTION⁠ ⁠ Albert Richardson, Design for the Finsbury branch of London County and Westminster Bank with a bronze shopfront, London, UK, 1915. Watercolour with ink on board, 225 x 380 mm. DMC 4020. ⁠ ⁠ Explore our collections at drawingmatter.org by @drawing.matter
NEW TEXT ON DRAWING MATTER ⁠ ⁠ "The human body has long served as architecture’s measure and meaning, shaping systems of proportions, theories of sensations, metaphors and ideas of function and health. Yet at the end of the Second World War, a seismic shift occurred. From the 1950s onwards, the body became the starting point for the very definition and understanding of architecture at large, and was explored as a reservoir of sensory, ritualistic and unconscious knowledge capable of mediating between architecture and changing social and environmental conditions. This shift transformed the body from an external reference into an active medium for redefining architecture itself."⁠ ⁠ Read Silvia Groaz & Beatrice Lampariello's exploration of Hans Hollein's 'Body Architecture' on drawingmatter.org by @drawing.matter
NEW TEXT ON DRAWING MATTER ⁠ ⁠ OMA is next in our series of Collection Guides. ⁠ ⁠ "OMA, the Office for Metropolitan Architecture, was officially founded on 1 January 1975 ‘to develop a mutant form of Urbanism – new types of architectural scenarios that will result in the rehabilitation of the metropolitan lifestyle.’ Its founding partners were two architect-artist couples: Elia Zenghelis (1937–2026) and Zoe Zenghelis (b.1938), and Rem Koolhaas (b.1944) and Madelon Vriesendorp (b.1945), who had all been working together since the early 1970s."⁠ ⁠ Read the full guide at drawingmatter.org by @drawing.matter

Download All

Save the photos and videos currently loaded on this page.

0Photos
0Videos
Ready to download 0 / 0

Keep this tab open until your download is ready.
back to up