Drawings: The Latest Architecture and News

"New Khmer Architecture and Japan" is the first show in Cambodian History to focus on the architectural drawings of its modern movement. Cambodia is a country with mature architectural culture, not only of the great Angkorian heritage and vernacular timber temples, but also of modern buildings from the 1950s and 60s known as New Khmer Architecture. Since the 1990s, in the context of the post-war redefinition of the national identity as well as the recent expansion of environmental consciousness, this Cambodian modern movement, with their sensibility to the traditional culture and tropical climate, is being re-evaluated; though the drawings and documents of the movement were believed to be destroyed and lost in the turmoil of the Civil War.

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Flagship stores excite both fashion shoppers and designers alike due to their role as visionary laboratories for the latest trends and stimulating retail experiences. Architects have developed various ways to dress haute couture stores, from distinctive icons in the day to seductive night-time images. The images accompanying this article, created by the Portuguese architect and illustrator André Chiote, help to explore the graphic potential of famous brands like Dior, Prada and Tod's. The illustrations clearly reveal the various techniques of playing with diaphanous layers, intimate views inside or the contrast of light and shadow.

“Re-Constructivist Architecture,” an exhibition now on show at the Ierimonti Gallery in New York, features the work of thirteen emerging architecture firms alongside the work of Coop Himmelb(l)au, Peter Eisenman and Bernard Tschumi. The title of the exhibition is a play on words, referring to the De-Constructivist exhibition of 1988 at the Museum of Modern Art that destabilized a certain kind of relationship with design theory.

This reconstruction is primarily of language. The architects draw from archives—mental, digital or printed on paper—distant from the typical parametric and highly schematic rationales that characterized the last thirty years of design in architecture. Within the theoretical system that drives architectural composition, these archives inevitably become homages, references, and quotes.

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After receiving his education at the Repin Institute for Painting, Sculpture and Architecture in St. Petersburg, Sergei Tchoban moved to Germany at the age of 30. He now runs parallel practices in both Berlin and Moscow, after becoming managing partner of nps tchoban voss in 2003 and co-founding SPEECH with Sergey Kuznetsov in 2006. In 2009, the Tchoban Foundation was formed in Berlin to celebrate the lost art of drawing through exhibitions and publications. The Foundation’s Museum for Architectural Drawing was built in Berlin in 2013 to Tchoban’s design. In this latest interview for his “City of Ideas” series, Vladimir Belogolovsky spoke to Tchoban during their recent meeting in Paris about architectural identities, inspirations, the architect’s fanatical passion for drawing, and such intangibles as beauty.

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Rafael Araujo is a Venezuelan architect and illustrator who at the age of fifteen began to observe intelligent patterns in nature, giving rise to his interest in the golden ratio located in our natural environment.

More than 40 years later, the results of this hobby is a collection of beautiful illustrations of nature made entirely by hand, equipped with a pencil, a compass, a ruler and a protractor.

The artist's illustrations give his ability to represent the mathematical brilliance of the natural world, inciting the reunion of humans with nature.

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Their theoretical, critical and historical approach attempts to rediscover a thoughtful dimension behind the architectural subject. Each firm will present a residential project for the Roman countryside, a design exercise meant as a typological investigation, or, more generally, as a meditation on the autonomy of the architectural discipline. The thirteen projects for thirteen houses showcased in the exhibit are intended as a homage to the city of Rome and its countryside.

As the birthplace of our most recent Pritzker Prize winner, Alejandro Aravena, Santiago, Chile is full of iconic architecture. Because many of these buildings are situated in busy urban areas, their superior design is easy to miss. In an effort to encourage viewers to slow down and appreciate the volume, facades, context, and function of these urban landmarks, Benjamin Oportot and Alexandra Gray of San Sebastian University guided their 4th-year students in producing axonometric drawings of 11 buildings. The project centered on medium-sized office buildings built between 1989 and 2015, particularly focusing on their use of reinforced concrete.

This special edition of a+u is a comprehensive issue dedicated to Sigurd Lewerentz's drawing collection, originally published as two issues in January and February 2016. Comprised of Lewerentz's hand drawings from the Swedish Centre for Architecture and Design (ArkDes) archive and photographs, the issue covers four of the architect's prominent works throughout his career: Malmö Eastern Cemetery, Social Security Institute, Villa Edstrand, and St. Petri Church in Klippan.

All architecture remains a fantasy up until the moment when it is fully materialized and ready for its intended use. Testing new spatial possibilities is a never-ending process. Physical scale models and sophisticated computer-generated renderings are widely used by contemporary practitioners to explore this creative endeavor. Undoubtedly, these will remain necessary tools in architects’ investigative pursuits. They are efficient, effective, and convincing. Still, there is something particularly authentic and candid about traditional hand drawing that other techniques can’t quite capture. They transmit artistic visions with the right balance of clarity and interpretation, and engage our wildest imaginations helping us envisioning new ideas and dreams in architecture.

Videos

More than 6 million courses have been created for Super Mario Maker, a video game where players can create their own game levels with all of the available tools of the Mario universe. The plumber, who has entertained millions of people around the world with his adventures, turned 30 last September, the date of the release of his first solo odyssey, Super Mario Bros. The rest, as we know, is history.

A few months ago, for the premiere of Super Mario Maker at the last Electronic Entertainment Expo (E3 2015), Shigeru Miyamoto and Takashi Tezuka, the creators of Super Mario Bros, explained how they designed the levels of the classic Nintendo video game in 1985: on graph paper.

That's right, using graph paper and tracing paper, the Japanese artists drew each level in detail, adding and editing the position of enemies, traps, and even designing the game's cover art.

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The Albertina is one of the most prominent collections in the world with over one million works covering six centuries of art history, from the late Middle Ages and the Renaissance to the present day. Its world famous Graphic Collection, rich in tradition, is by far the largest and most important department. The Architecture Collection of the Albertina is by no means less significant. It too spans across many periods, encompassing works by well-known architects. The exhibition in the Berlin Museum for Architectural Drawing allows a glimpse into this fantastic collection, showing hand drawn architecture across a wide spectrum with sketches, studies, vedute and project presentations by exceptional artists and architects such as Antonio Pisanello (1395–1455), Francesco Borromini (1599–1667), Hubert Robert (1733–1808), Egon Schiele (1890–1918), Hans Hollein (1934–2014) and Zaha Hadid (born 1950).

The architecture drawing gallery Tulpenmanie invites talented young authors (max 30 years old) from all over the world to submit an unpublished drawing about architecture, landscape and the city. During the next Salone del Mobile Milano 2016 the best works will be part of the exhibition 30<30.

Norway based architecture studio Vardehaugen has created a series of life-sized project drawings in its own backyard. Inspired by the idea that the "bodily sensation of scale, or the notion of simply walking through a room, cannot be experienced through traditional 3D visualizations or scaled models," the 1:1 models allow for better understandings of dimensions and spatial sequences, even before the projects are built.

We believe good projects should be able to express and explain themselves. Architectural representation plays a fundamental role in how a project is perceived by the audience, which is why today ArchDaily is recognizing the most outstanding, original and self explanatory drawings of the year.

The selected drawings cover the diverse range of different techniques used in architectural representation today, from hand drawing images to perfectly detailed axonometrics and animated GIFs - but one thing they all have in common is the deep insights they provide into the appearance, construction or concept of the buildings they represent.

In the architecture world, there are a handful of persistent debates that arise time and time again: the challenges of being a woman in the field of architecture is one of them, for example; the problems of a culture of long hours and hard work is another. But one of the most enduring arguments in architecture - especially in the academic sphere - is the battle between hand drawing and computer aided design. Both schools have their famous proponents: Michael Graves, for example, was known as a huge talent with a pencil and paper, and came to the defense of drawing in articles for the New York Times, among others. Patrik Schumacher, on the other hand, is famous for his commitment to the capabilities of the computer.

To advance this heated conversation, two weeks ago we reached out to our readers to provide their thoughts on this topic in an attempt to get a broad cross-section of opinions from architects from all walks of life. Read some of the best responses after the break.

Norwegian architect and Pritzker Laureate Sverre Fehn’s original drawings for the Nordic Pavilion in Venice are to be presented alongside Ferruzzi’s monochromatic photographs of the building in an exhibition at the National Museum of Architecture in Oslo. Venice: Fehn’s Nordic Pavilion documents the incredible task undertaken by Fehn who, at the age of thirty-four, won the competition to design the pavilion and subsequently won international acclaim when the building was completed in 1962.

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