LINES Exhibition Catalogue

LINESa n e x h i b i t i o n o f o r i g i n a l h a n d d r a w i n g s

LINES is an intimate exhibition of original hand-drawn architectural works.

In a reserved and concise manner, it seeks to demonstrate that hand drawing is as relevant today as it has ever been, and is the most enduring and direct form of architectural communication.

The exhibit is located on the first floor gallery at 3 Baltic Street East, Clerkenwell, London, EC1Y 0UJ.

The show runs from 18.08.11 to 27.08.11.

LINES

Adam’s work draws heavily on his interest in craftsmanship and nature, inspired by woodland environs and organic structures. Since commencing his architectural studies, Adam has developed a personal style, which effortlessly provides a beautiful and sustainable architecture.

ADAM DRAPER

Tony’s work explores the notion of geometry within material. His drawings blur the boundaries between crafted physical models and drawings themselves. This exhibit showcases, through

various mediums, the notion of the drawing as inhabiting the draughting surface.

ANTHONY ROBERTS

AMIN TAHAForm Follows Doodle. Encouraged to precisely map out programme and incrementally adjust this precision to determine form, we wonder why our friend on the drawing board next door doesn’t inevitably find the same conclusion. ‘Doodles’ was Taha’s short exercise to demonstrate how a breeze through an open window firstly inverted then turned a plan through 90 degrees to create a section, how the immediacy of tactile investigation and chance refreshes our expectations and liberates process and form.

The Still Vessel. The project evaluates the point in history at which timber construction became stone resulting in the creation of the Doric Order, an architecture of timber details embedded

into a new material. The following narrative investigates this theme. A group of timber experts become stranded on a stone island and are forced to rebuild their ship using only this

hard material. The result is The Still Vessel, a stone temple that will never sail, a retrodictive architecture of inheritance and inversion.

THOM IBBITSON

RICHARD MEDDINGSRichard’s drawings portray innovative environmental systems through analogue connections. They are drawn so as to use complexity to evoke intrigue, inviting the viewer to imagine their workings and purpose. The overtly technical construction of each drawing is an attempt to imbue a feasibility onto their contents.

Exponential Mirrors - Half a boat is washed up on shore exactly 200 years to the day after its first voyage. This project explores the myth surrounding the construction, disappearance and

trace of the missing half of the boat: an exploration of independent systems of manufacture within an architectural framework.

JAMES REDMAN

Greg uses hand drawing to investigate the notion of automatic delivery of an idea. A comparatively brief period of sketching precedes a large-scale piece, giving rise to questions surrounding authorship and originality. A strong interaction between soft organic and hard technological themes prevails.

GREG SKINNER

MICHAEL DEANMichael’s work explores ways in which the projective systems of normative orthographic

drawing might be manipulated in order to examine a set of specific relational conditions and associative structures which exist between explicitly dynamic natural systems and a set of

animate architectural interventions. The drawn experiments reveal a set of environments within which thresholds between natural and architectural components become indistinct and a new

composite landscape is exposed.

TOM NOONANTom’s drawings envisage architecture as part of a self-sufficient, evolving system – encompassing a reciprocal dialogue between the environment, city, community and buildings. His designs look to the past, to reveal qualities that are lacking in our modern cities and imagines a future architecture that depends on nature, the environment and the unsuspecting user.

Omar is interested in the way that social frames dictate mass perception of people and events, resulting in an architecture that challenges conventional frames of reference. The drawings

oblige the viewer to mistrust the norm through the intermingling of present-day and historical allusions in nonconforming scales of architecture.

OMAR GHAZAL

Hugh’s designs tackle the notion of taste and style in architecture, and draw on themes surrounding buildings – such as the associations of measured hand drawing, the eclectic history of architecture and the possibility of learning from art practice. These strands are curated into a series of drawings exploring a contemporary public architecture.

HUGH MCEWEN

Richard’s drawings describe proposals for a new school situated on mudflats on the edge of a tidal inlet. The scheme is built up through a series of markings made across the canvas of soft

muds. The drawings convey the fluid etching of this new intervention which is drawn out across the flats through the rhythmic nature of its shifting topography.

RICHARD CHEESMAN

Yianni is an architect and film-maker. His influences range from Dr. James O. Incandenza to Roger Federer. He uses text, image and film to create Wallacean tragedies. He is a platonic nesting doll.

YIANNI KATTIRTZIS

Tim’s work explores geometry and space, perspective and perception. Via a complex analysis of spatial relationships, physics and the concept of the scale of the observer, Tim produces

drawings which are not only engaging, but also mathematically sound.

TIM NORMAN

The College of Faith and Reason, Russell Square, LondonInformed by the fusion of the arts, sciences and spirituality in late seventeenth-century England, the College facilitates academic research amidst an eclectic and allegorical collection. The architecture works playfully with the occupants’ preconceptions of the relationship between private and communal spaces, engaging all the senses as a means to encourage and increase communication and collaboration.

DIJAN MALLA

KA MAN LEUNGVertical Garden, Bankers’ retreat, Collapsing landscape of Hong Kong Island,

‘The role of landscape is evolving.’ By collapsing the extreme landscape and different conditions along the section line of Hong Kong Island, the project developed into a multifunctional vertical

park. It acts as the environmental catalyst in the Central area serving both the public and the Bankers. The intent is to celebrate Hong Kong as a radical city by contrast and provide a

manifesto for the rebirth of the city.

CONTENTS

a. Tim Norman timcnorman@googlemail.com b. Yianni Kattirtzis yiannikattirtzis@googlemail.comc. Thom Ibbitson thomibbitson@gmail.comd. Anthony Roberts tr39@brighton.ac.uke. Michael Dean mikedean1235@hotmail.co.uk‎f. Ka Man Leung karman.k.m.leung@gmail.comg. Adam Draper adam@amintaha.co.ukh. Omar Ghazal ghazal.omar@gmail.comi. Hugh McEwen hughmcewen@gmail.comj. Dijan Malla malla.dijan@gmail.comk. Richard Meddings richardmeddings@makearchitects.com‎l. Tom Noonan tom.noonan99@gmail.comm. Richard Cheesman richard@amintaha.co.ukn. Amin Taha amin@amintaha.co.uko. Greg Skinner gregskinner1586@gmail.comp. James Redman jamesredman@makearchitects.com

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WITH THANKS TO

Amin Taha ArchitectsMAKE