Peter Wilson. 24 Drawings. Products and Bi-products of Architectural Practice

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1 Peter Wilson 24 Drawings Products and Bi-products of Architectural Practice

2 Exhibition Peter Wilson 24 Drawings Products and Bi-products of Architectural Practice October 2013 Tin Sheds Gallery in The Hearth Faculty of Architecture, Design and Planning 148 City Road University of Sydney NSW 2006 Australia Curator: Dr Claudia Perren Exhibition Design: Peter Wilson Fabrication: Timothy Osborne, Andrew Pinnock, Melinda Wimborne, ATSC workshop Catalogue Editor: Dr Claudia Perren Graphic Design: Jesse Thomas Proof Editing: Jasper Ludewig Images: All images by the authors, except pages 31,32 by Jun Ming ISBN

3 Exhibition Introduction 01 Bari Masterplan I, Crownprince Bridge, Berlin D, Mt. Elephant, Victoria AU, Abbentorswall Masterplan, Bremen D, Modena Culture Centre I, House K., Elevation, Münster D, House K. Interior, Münster D, House K. Plan, Münster D, Den Haag Ministry Towers NL, Darling Harbour, Sydney AU, Bremen Harbour, Masterplan D, Spearman Visitors Centre, Schöningen D, Newcastle Masterplan GB, Newcastle Masterplan GB, Commercial Topography, Newcastle Birds Eye GB, Newcastle Masterplan GB, Approach, Campus Münster D, Philosophy Faculty, Lakeside Tirana Masterplan AL, Taxonomy, Lakeside Towers, Tirana AL, Ljubljana Tower SI, Cacao Factory Culture Centre, Helmond NL, Nicosia Embassy I, Nicosia Embassy I, Components, Square Bielefeld D, 2010

4 Peter Wilson -24 Drawings Products and Bi-products of Architectural Practice In 2013 the Tin Sheds Gallery invited architect Peter Wilson to show his drawings in the Hearth of the Faculty of Architecture, Design and Planning at the University of Sydney. Peter Wilson, director of Bolles + Wilson (Münster, Germany), had only recently been awarded the 2013 Gold Medal by the Australian Institute of Architects in recognition of an outstanding body of architectural works built worldwide. Bolles + Wilson have received many awards, and have been widely published and exhibited. Peter Wilson is highly recognised for his longstanding contribution to the development of architectural drawing as a tool of representation, creation and research. Drawings in architecture speak of Besitzergreifung and Beherrschung of space, showing a way in which the architect observes, documents, remembers, selects or experiments with a place, a situation, a detail or a dream. The majority of Peter Wilson s drawings exhibited in Sydney are small watercolours produced as quick visualisations during the design process, for competitions or to seduce a client into understanding the character of a design. The earliest is of a different species, a notebook sketch of Mt Elephant in Victoria s Western District. Drawn in 1984, it represents another form of notational drawing; recording the places, details and atmospheres one passes through (life as research). The exhibition was accompanied by a lecture ( Zombies, 11 October 2013) and a drawing workshop ( A Tree, its Shadow, a House, October 2013). The Students presented their results from the drawing workshop next to Peter Wilson s drawings in a one-night-only exhibition on 18 October Dr Claudia Perren Exhibition Curator Drawings 24 Drawings

5 01 Bari Masterplan I, Drawings 24 Drawings

6 02 Crownprince Bridge, Berlin D, Mt. Elephant, Victoria, AU Drawings 24 Drawings

7 04 Abbentorswall Masterplan, Bremen D, Modena Culture Centre I, Drawings 24 Drawings

8 06 House K., Elevation, Münster D, House K. Interior, Münster D, Drawings 24 Drawings

9 08 House K. Plan, Münster D, Den Haag Ministry Towers NL, Drawings 24 Drawings

10 10 Darling Harbour, Sydney AU, Bremen Harbour, Masterplan D, Drawings 24 Drawings

11 12 Spearman Visitors Centre, Schöningen D, Newcastle Masterplan GB, Drawings 24 Drawings

12 14 Newcastle Masterplan GB, Commercial Topography, Newcastle Birds Eye GB, Drawings 24 Drawings

13 16 Newcastle Masterplan GB, Approach, Campus Münster D, Philosophy Faculty, Drawings 24 Drawings

14 18 Lakeside Tirana Masterplan AL, Taxonomy, Lakeside Towers, Tirana AL, Drawings 24 Drawings

15 20 Ljubljana Tower SI, Drawings 24 Drawings

16 21 Cacao Factory Culture Centre, Helmond NL, Drawings 24 Drawings

17 22 Nicosia Embassy I, Nicosia Embassy I, Components, Drawings 24 Drawings

18 24 Square Bielefeld D, Drawings 24 Drawings

19 Drawings 24 Drawings

20 Shiyang He When days become years Water colour, charcoal, pencil A3 sketch paper A map of tree leaves. A distributed number system related to the location of each leaf. An exploration of the futility and pointlessness of measuring the immeasurable. It invites curious viewers to a micro-perspective of the tree. Numbers are layered on numbers to create a whimsical sense of texture in the during. The house By drawing the shadow of the tree, the shadow suddenly becomes completely autonomous from the tree. It rotates, explodes, shifts and creates a world of its own. When the line starts somewhere, it follows itself to nowhere. The windows between lines make explicit the potential of a building inside this chaotic drawing

21 40 41

22 Rin Lynn Masuda microcosm (with line and fill) Black ink, pencil, mechanical pencil, black gel pen White A3 paper I understood my tree as lines that connected its slender trunk to its branches and then leaves. From these lines the project s focus was zoomed into re-thinking the tree s shadow as a fill with clusters of foliage patterns. These patterns are imagined according to the amount of light shining through the density of the leaves. The areas of the thickest foliage become large patches floating within the outline of the foliage. Then the surrounding space between the patches is filled with dot, line and shading techniques to dissolve boundaries, in a way a shadow would simplify the pattern of the foliage seen in elevation into overlays of light and dark on the ground. From the shadow patterns, perhaps an aerial plan with little clusters of houses can be seen to emerge in the open landscape 42 43

23 44 45

24 Pamela Maldonado Between Two Worlds Ink wash, wax, technical drawing pencil A3 water colour paper Between Two Worlds explores the life of a tree. An enquiry into how to draw out transparency from perceived density. Sid Caesar once said in between goals is a thing called life, that has to be lived and enjoyed. Such is the case with the tree and its desire to generate seen manifest in each and every leaf, small pieces that yearn to make a whole. Yet in the light of day the in between is revealed - life. Transparency unveiled in its shadows. The in between is formed; dappled light to be rejoiced

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26 Vesna Trobec Deep Black Inks and conte on paper; photocopy machine; cutting, tearing and pasting Originally water colour paper and then A3 plain photocopy paper The original drawings were intense and high contrast, which lead me to draw a dark tree on a very dark night and its even darker shadow - a study into deep black. These dark ink and conte drawings were then abstracted through a photocopier. The image became larger as the copies were composed together. Along with the white borders produced by the photocopier, patterns were discovered and created through a process of editing and erasure. What emerges is reminiscent of a map of unknown territories and settlements. The atmosphere is quite militant, like artillery emplacements, which might have been because of the very strategic compositional strategies that were used. A conversation was had about the role of architecture in territorial conflict. The next step in this project would be exploring how to erase the suggested strategic intent and bring the evocation back into the ambiguous psychological power of deep darkness

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28 Angus Wirth Moreton Bay Figures Charcoal and ink on paper. Photo-copying, collaging 770mm x 570mm, thick stock 200gsm The Moreton Bay Fig has this amazing ability to be able to send its branches on impossibly long reaches. Cantilevers even the most adventurous engineer would thumb their nose at. It was this characteristic I wished to explore, firstly in elevation and then in a plan of its shadow. The elevation was the product of a highly planned process. The plan of the shadow however was created through a process of pure experimentation. Beginning with an ink drawing of the shadow s negative, it was photocopied, collaged, cropped and inverted. The result; a shadow of complete randomness dissected by highly ordered lines. Perhaps a representation of an architectural plan in the natural world

29 56 57

30 Li Vern Lim Dust Clouds Charcoal smudged by hand A3 Dessin paper A tree. Finding a style. Discovering a gesture. Inventing a body movement. Repeat. A strong line. A scribble. Smudge down. Erase. Repeat. The tree is formed by tufts of black clouds, each cloud darker on the top than the bottom, smudged downwards. A trunk and branches as slender as can be, surreal; the earth receives the tree, the landscape stretches further than the eye can see. A shadow. Sprinkle, blow, smudge, erase, repeat. Only through repetition of erasure and addition can a rich layered palimpsest be created. Charcoal dust, spread onto paper creates a smooth gradation from light to dark; soft. The machine-like repetition of the motion of smudging adds movement, as if the leaves are rustling in the wind. A house. Faceted. A path leading in. The remains of a tragedy. The last one standing in the mist of dust clouds. Emergence from the process of determined selection; stark white over the burnt remains. A site. Context. Landscape. Traces left from a repeated motion of beating, striking, and swiping of objects on the paper. Charcoal dust comes flying out, forming faint traces of streets, paths, and roads

31 60 61

32 Kong Jun Ming Within the Void of a Solid Water colour, ink, lead. Photocopied, creased and folded paper A4 Canson water colour paper 220gsm Within solid matter is cast a shadow, it solidifies an empty void. It claims its physical presence within the ray of light; through a solid opaque medium; neither transparent nor translucent. A positive space of mass, shape; a perceptual illusion of extension from the matter only applicable through vision & the absorption of magnetic frequency of wavelength spectrums. Within the dark void, one could not differentiate the absence/presence of a solid; the void and subject becomes solid- until periphery of the void is distinguished. The introduction of visible light (creasing and marking of the paper) within the void (ink), could guide one and reveal the desired shape within the periphery of their existing primitive notion of space. Lines form between the geometry of the figure hand (Manus), motion of human kinetics and the physical shadow trace (ink) on the canvas. It forms through the friction of interactions of the physical and mental state of mind, body and object. As we craft the lines through the absence of lines on a flat plane, it surfaces with links of mapping projections of domesticated sensitive nature; humanoid intuition - means of communication between medium and vision

33 64 65

34 Alasdair Mott Untitled Indian Ink, felt-tip pen ~ 400mm x 550mm A young gum tree found in Victoria Park. The initial drawings tried to capture the scraggly tuffs of leaves that fade into their surroundings. Splashing ink against saturated paper created a soft background to build up on, with ink and fine-liner. Subsequent layers were darker, scratchier, and more permanent. The shadow cast by the drawn elevation was warped when projected against the ground plane. It was messier and blurrier, and had less separation between trunk, branches and leaves. A grid system was consolidated within the perspective lines, and between the warped groups of leaves parallelograms would fill the voids. The perspective, now resolved as a plan, could again be twisted into an axonometric drawing. So as not to interfere with the shadows cast already, the new forms recede into the ground, again by obeying the grid system in place. The divots form a new architecture in the voids between shadows

35 68 69

36 A Tree, its Shadow, a House A Drawing with Peter Wilson The Faculty of Architecture, Design and Planning, University of Sydney, invited students to a drawing workshop with Peter Wilson, held during the 2013 Australian Institute of Architects Gold Medal Tour. The students were given the following task: A Tree - a tree of your choice is to be drawn and redrawn; its character interpreted - whether by pencil, brush, finger or stick. When the painter Fred Williams returned to Australia after years in Europe he was asked, what are you going to paint now? Gum trees he answered - these turned out to be his signature, sometimes just a squeeze of paint on the canvas, highly abstracted, a singularly Australian aesthetic. Its Shadow - a shadow is a two dimensional flattening of a three dimensional object. The eucalyptus tree, with its thin leaves that can turn their thin side to the sun, casts a particular dappled shadow. Large pine trees beloved by early settlers and massacred by a first generation of nationalistic ecologists, cast a particularly black shadow, a dark place, as Deleuze described shadows in the paintings of Francis Bacon. The question of this workshop is to explore a particular character - that of a shadow. Perhaps the tree will be reconstructed from this, or perhaps it will be a House, a mode of dwelling, that will emerge from the shadow folds. Those who succeed with this exercise will have evolved their own signature tree, to drop into future projects. The invention of a personalised tree represents an independence from downloaded clichés - a great step forward in an architect s career. The workshop A Tree, its Shadow, a House (11-18 October 2013) was part of the Tin Sheds Gallery Exhibition Peter Wilson - 24 Drawings. Products and Bi-products of Architectural practice. The Students presented their results from the drawing workshop next to Peter Wilson s drawings in a one-night-only exhibition on the 18th of October Coordinator Dr Claudia Perren 70

37 Introduction Alasdair Mott Untitled Jun Ming Within the Void of a Solid Li Vern Lim Dust Clouds Angus Wirth Moreton Bay Figures Vesna Trobec Deep Black Pamela Maldonado Between Two Worlds Lynn Rin Masuda microcosm (with line and fill) Shiyang He When days become years

38 Peter Wilson Students Drawing A Tree, its Shadow, a House October 2013 The Hearth Faculty of Architecture, Design and Planning 148 City Road University of Sydney NSW 2006 Australia Coordinator: Dr Claudia Perren Catalogue Editor: Dr Claudia Perren Graphic Design: Jesse Thomas Proof Editing: Jasper Ludewig Images: All images by the authors, except pages 31,32 by Jun Ming ISBN

39 Peter Wilson Drawing A Tree, its Shadow, a House

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