10 x 10 LONDON Drawing the City - Auction Catalogue

10x10 brings together 100 of the world’s best architects and artists into the most famous city in the world, the City of London, to draw at their own expense for Article 25. The City is one square mile and every corner contains two thousand years of great architecture. From Wren to Foster, from Soane to Koolhaas the City has exquisite buildings and spaces which have, in turn been captured by today’s best talent.

Article 25 thanks the participants of 10x10 for their generosity and now asks you to match their spirit by digging deep and bidding high. Here’s your chance to secure a piece of history, for a very good cause. Article 25 is the UK’s leading architectural humanitarian charity - we need your support.

Jack PringleChair of Article 25

FOREWORD 10x10 was founded in one of the world’s great financial centres; the City of London. Its aim is to raise money for essential projects in developing countries.

It began as a celebration of three things: firstly, the process of looking at the city; stopping, listening and putting pen to paper. Secondly, the process of making choices; deciding what to draw - picking favourites – and articulating those choices. Thirdly it is a celebration both of the individual and the collective - a many-layered ‘snapshot’ of the City.

Thanks go to all those who have contributed; with drawings, with their time and with sponsorship. We hope that this will be the first of many 10x10’s, both in London and in other cities around the World.

Tim MakowerAllies and Morrison

“10x10 London – Drawing the City” is a unique project, dividing the City of London into a 10x10 grid. Each piece has been created for this event by prominent architects and artists. Initiated by architects Tim Makower and Stephen Taylor and supported by Argent and Sotheby’s, 10x10 is set to become an annual and international event. Proceeds from this event will support the built environment charity Article 25’s ongoing projects including a school building in Burkina Faso.

All of our contributors took to the pavements of London to produce a truly distinctive and dynamic collection and, as we think you will agree, form a truly unique showcase of British architectural heritage. The resulting works highlight some of the most beautiful aspects of the city as well as the hidden and forgotten details that are regularly overlooked. This project is a unique concept, with the designers of the City

LONDON 10 X 10 DRAWING THE CITY

collaborating during one weekend and turning their gaze back to the built environment they helped to create as well as providing a commentary and critique on the constantly changing landscape of central London.

These original and striking pieces, documenting the changing cityscape of London are being auctioned by Sotheby’s at an exclusive event on 1st December, 2011 at the German Gymnasium, courtesy of King’s Cross.

Live & Silent AuctionA selection of 25 pieces will be auctioned live on Thursday 1st December at The German Gymnasium, Kings Cross Central. A Silent Auction of the 75 remaining pieces will run on the same night. To participate in the Silent Auction, please write your bid on the bidding forms next to each artwork in the exhibition.

Telephone bidding is also available for the Live Auction – please email [email protected].

AUCTIONPROCEEDINGS

The Live Auction is being hosted by Adrian Biddell (left) of Sotheby’s, who have also kindly provided their expertise in auction preparations.

Sealed bidsSealed bids are accepted by email, text or telephone before 6pm on Thursday 1st December. For more information please email [email protected] or call +44 (0)20 7375 0144.

PaymentIf you place the winning bid for any auction lot, payment can be made by credit or debit card, cheque, cash, bank transfer or online donation and must be made on or before collection or delivery of the piece. A payment desk will be available on the night for those present at the Live Auction.

If not present, you will be notified by email or text message on the 1st December.

CollectionAll artworks will be packaged to take away on Thursday 1st December. If you are unable to take your piece it will be packaged and delivered on Friday 2nd December, to Greater London addresses. If payment is not received by 10.30am on Friday 2nd December, or if the delivery address is not in London, the buyer must arrange for their own collection.

Article 25 envisions a world where this human right to adequate shelter is met; a world where there is never a life nor livelihood lost due to the lack of a building, appropriate design or construction skills.

Currently over 1 billion people live without adequate shelter, which acts as a major barrier to health, safety and poverty reduction. Article 25 works with communities, charities and NGOs in developing countries and post-disaster areas. We provide safe, cost-effective, and appropriate design, and construction management for building projects that provide a vehicle to break a cycle of poverty.

Each physical building project also acts as a capacity building project; we train local communities in safe construction skills that will have a lasting impact long after our role is complete. In 5 short years, Article 25 has worked on over 50 projects in 23 countries,

ARTICLE 25

making a difference to thousands of beneficiaries. There are still hundreds of thousands of people that still need our help.

10x10 Drawing the City demonstrates that the world of art and architecture supports the need for safe design around the world. The proceeds from this auction will support “Child Friendly” secondary schools in Burkina Faso, schools that are earthquake and hurricane resistant in Haiti and many more worthy projects.

1A

“Physic Garden”

John Penton is an architect who specializes in all things to do with ageing and disability. He advises the Dean and Chapter of St. Paul’s and three other cathedrals. He is Past Master of the Chartered Architects livery company in ‘the’ City and was Master of the Merchant Taylors, one of the Great 12 Livery Companies, in 2003.

Guide Price £200 - £250

jOHN PENTON

Watercolour on paper420 x 297 mm

1b “Here – Where”

Paul’s career started in private practice and local government on public sector housing and urban renewal projects. Having trained as an architectural technologist, he gained professional qualification in 1987 with Powell+Moya. Since 1988, Paul has played a key role in the design, procurement and construction of many of Lifschutz Davidson Sandilands’ projects; he is committed to staff development, is an active awards judge and a member of the Royal Borough of Kensington + Chelsea Architectural Appraisal Panel and chairs the LB Hammersmith + Fulham design review panel.

The City of London is a centuries old, cohesive example of legible urban form; in contrast, touching its north western edge, lays an area of deliberate intent, somewhere conceived and created within a single generation, somewhere of great ambition and achievement. However, between the City and the Barbican any sense of place, location or presence evaporates, the ubiquitous yet chanced upon ‘your are here’ sign makes clear that one actually wasn’t ‘here’ and can only clarify the conundrum of ‘Where’? that could be.Guide Price £100 - £120

PAUL SANDILANDS & CHLOE PHELPS

Collage on board410 x 210 mm

1C

“Highwalk Urbanism”

Richard is a director of Maccreanor Lavington Architects, the practice he established in 1992 with Gerard Maccreanor. Richard has led the office’s work on many projects including Accordia in Cambridge, St Andrews Bromley-by-Bow, the H10 Hotel Waterloo and the Lux in Hoxton Square as well as a number of the earlier housing projects in the Netherlands. Richard lives with his family in London.


RICHARD LAvINGTON

Digital image210 x 420 mm

1D “Backs and Fronts”

Son of architect Raglan Squire and grandson of poet Sir John Squire, founder of the Architecture Club, Michael Squire studied at St John’s College, Cambridge, under Professor Sir Leslie Martin. Michael founded Squire and Partners in 1976, and designs buildings, places and spaces which are crafted to respond to their context and function. The practice’s work reveals a commitment to contemporary design and detailing, set within a traditional urban framework of street patterns, scale, proportion and materials.

“The site was not treated kindly by the 60’s and is now in transition with major construction works underway. The painting recognizes views out of the site to the Barbican, 84 Moorgate, and the Swiss Re. It also focuses on the contrast between roller shutter doors for delivery at the back of Moor House and fashion and glamour at its front. The picture is seen through the grid of the heras fencing which surrounds so much of the current construction work.”


mICHAEL SqUIRE Acrylic on paper410 x 297 mm

1E “1E - Where are we going?”

Born 1939 and in private practice since 1977, the current partnership with Edward Jones was formed in 1989. Common to our work as architects has been a concern for the city we work in and the way London has had a particular history different from other European cities. Projects such as housing St Mark’s Road, the Royal Opera House, National Portrait Gallery, Somerset House, etc. all engage with aspects of London’s urban history. We always review the historical background of our sites as a way of giving us a basis for finding a relationship between the new and the old.

“Parking my car in the calm environment of Finsbury Circus I walked towards Moorgate and hit a moment of urban hostility. The roadway was fenced in with barricades, buses were queuing nose to tail and the view was of the kind of desolation associated with large building sites. Understandably depressed by my given square, I found it difficult to encapsulate my emotions in a drawing so made a collage to contrast the quiet urbanity of the circus with the emerging chaotic cityscape of random towers.”Guide Price £150 - £200

SIR jEREmY DIXON Collage on board420 x 297 mm

1F “A Private Corner”

Max is a Hong Kong born Architect living in London. He has worked with Aedas since graduation from the Manchester School of Architecture in 2007. At Aedas Max has worked on a variety of projects including residential, transport, education and hotel schemes, but he has a particular interest in housing design.

Alongside his work, Max spends a lot of time sketching and undertaking photographic work. He is trained in classical piano and is interested in the correlation between music & architecture.

“A serene corner in a strenuous, exhausting city invited a fatigued passer-by to pause on her journey home. She reclaimed her lost soul on a cold marble bench, its temperature resonated with the gesture. A telephone conversation developed and she began to disconnect from her surroundings; the glazed screens keeping her apart from the velocity of the city. She was thankful to have found a consoling private corner.”


mAX CHAN Watercolour pencil and pencils on paper

1G “The Urban Void”

David Adjaye was born in 1966. He works as an architect with the aim of creating buildings as if they were conceptual artworks. He earned his BA at London South Bank University and went on to graduate with an MA from the Royal College of Art.

“Walking to Finsbury Circus, I realised that the richness of London’s cityscape has little respite. Absorbed by the grandiose setting, I almost lost my bearings as the meticulously crafted facades overwhelmed me. My relief came when the sun shone in my eyes and I was forced to look up. I immediately gained a sense of tranquillity from the never ending blue above me. My sketch observes this powerful image that seemed to transcend any man made form.”


DAvID ADjAYE Ink on paper210 x 210 mm

1H

“The Octagon”

Charlie is a designer with 3DReid, with responsibility for their building designs and masterplans in Asia. He has been with 3DReid for around six years; before that he was with RMJM. Charlie is also a graduate of the Mackintosh School of Architecture.

“The Octagon in the Broadgate Estate is an urban space but is not a public space. The use programme is tightly constrained, and commonly held beliefs concerning the justifications for these constraints may not have only a practical basis: The Octagon also has a very strong aesthetic programme, where certain forms and colours are absolutely dominant. Would the haphazard aesthetic of an ‘Occupy …’ demonstration be tolerated at all?”


CHARLIE WHITAkER

Giclée print, digital photography with compositing305 x 406 mm

1ICHRIS WILkINSON

“Saturday Morning at the Station”

Chris Wilkinson is the founding principal of Wilkinson Eyre Architects. He was awarded an OBE in the 2000 Millennium Honours for services to architecture and elected to the Royal Academy in 2006. He has received honorary doctorates from Westminster University and Oxford Brookes University. He is a member of the RIBA, an honorary fellow of the AIA and a fellow of the Chartered Society of Designers. He has been visiting Professor at IIT Chicago and Harvard University Graduate School of Design. Guide Price £750 - £850

Pencil drawing, with watercolour washversion and acrylic paint version594 x 420 mm

“I found myself a quiet spot in the station to sit and draw. It’s not my favourite building because of the ornate Victorian decoration on the cast iron structure but my spirits were lifted by the quality of light streaming through the large modern glazing to the south. It took me some time to set out the composition because of the complexity of the structure but, as it started to take shape, I settled down to enjoy myself.”

1j “Broadgate 142”

Ben Kilburn trained as an architect at Cambridge University and is a director at Kilburn Nightingale Architects, with offices just south of Kings Cross. Ben has been working with Richard Nightingale, co-director at Kilburn Nightingale, for many years on a wide variety of work both in the UK and abroad. He has also taught at a number of architectural schools including Cambridge and Bath University. He has worked in London for over 20 years and currently lives in Hackney with his wife and three daughters.

“I was allocated a square right on the edge of the 100 squares and the City, bordering Spitalfields and the East End beyond. I set out to capture the sense of being in between these very different parts of London. I drew fast with my sketchbook leaning against a traffic light to capture the movement and energy and a stream of consciousness. The drawing suggests what lies beyond; the innards of the buildings, the workings below ground, or the history of the city to the west and the Dickensian charms of Spitalfields to the east.”Guide Price £100 - £200

bEN kILbURN Watercolour and ink on paper, size 420 x 295 mm

2A “88 Wood Street: Fragments”

Guide Price (2 pieces) £150 - £200

STEvE HUmPHREYS 4B and 2B pencil and eraser on paper410 x 297 mm

“The images illustrate skyline and ground level fragments of 88 Wood Street by Richard Rogers and Partners -the stand out building and aspect of this square of the city in my view. What inspires me about this building? It is elegant, contextual, multi facetted. Where its neighbours play constrained games of one dimensional façade manipulation, this building has complexity delivered in a consistent fashion with playful elements to enliven and articulate the streetscape.”

As a Director at Weston Williamson Steve maintains a design overview on a wide range of projects across all sectors. A key aspect of his role is in the development, evolution, and delivery of the design concept.

Steve is closely involved in the visual arts not only in his specialist area as an artist and illustrator but also in arts management. His role on the board of firstsite enables him to be actively involved in the visual arts in the Eastern Region of the UK.

2b “Metaphorical Landscape”

Founded his own practice in 1983 and has been working with co-directors Robert Kennett and Nick Jackson for over 15 years. He studied architecture at the University of Newcastle, the Royal College of Art, and the Architectural Association, and worked as a lecturer in architecture at the University of Cambridge. He has also led several lectures at the Graduate School of Design, Harvard, and the Tokyo Institute of Technology. Eric is involved in many projects and plays a key role in their design development stages.

“This is a representation of the north wall under 5 Aldermanbury Square using watercolour as a medium which best captures the shimmering quality of light reflected off the metal threads of the weft of the textiles hanging in front of the light absorbent shuttered concrete walls. Opposite, the other wall that defines the new public space and entrance to the square is also in concrete and carries water that flows down bronze Channels in a literal Opposition to The textiles.”


ERIC PARRY Watercolour on paper420 x 297 mm

2C

“Lights on the London Wall”

Mark Major trained as an architect before becoming a lighting designer. He is a Director of award winning lighting designers Speirs + Major. He has been responsible for lighting a large number of landmark projects including the Millennium Dome, 30 St. Mary Axe and the Royal Festival Hall. He recently re-lit the interior of St. Paul’s Cathedral. He lectures widely and was the co-author of the best selling publication ‘Made of Light – The Art of Light and Architecture’.

“Our perspective of the city changes as darkness falls. We experience the streets, squares, parks and buildings differently. Vertical surfaces disappear. The colour and texture of the landscape is lost. Buildings become lanterns revealing their patterns of occupation. The dynamic movement of light created by advertising, headlights and signals creates an ever changing layer. There’s beauty to random patterns of light.”


mARk mAjOR

Gouache, marker pen, silver highlighter, Tippex and ball point pen 410 x 297 mm

2D Untitled

“Whether the job in hand is the installation of a new lift (as at London’s Science Museum) or the renewal of an entire district, Lyall’s approach begins with a practical assessment of what is needed and how it can be delivered. To this extent, he is, indeed, a pragmatist who delights in getting things done. But beyond the pragmatic surface, there is the mind of an artist, a maker of form whose architecture Guide Price £80 - £120

jOHN LYALL Collage on board420 x 210 mm

is essentially inclusive, rich and generous in spirit. It is an architecture which is informed by the great urban traditions of the past and offers a new vision of the city of the future.” Ken Powell, Introduction to: “John Lyall Contexts and Catalysts“.

2E “On London Wall”

Tim Stonor is an architect and urban planner, specialising in the analysis and design of human behaviour patterns in buildings and urban areas. His work shows how social, economic and environmental value is created by the interaction and transaction of people in space. Tim is Managing Director of the strategic consulting firm Space Syntax Limited, which he founded in 1996. A Director of the Academy of Urbanism, Fellow of the Royal Society of Arts and winner of the Harvard Loeb Fellowship, he is an Honorary Senior Lecturer at University College London.

“Places exist at multiple scales, revealing activities simultaneously local and global: people coming to, going from or passing through. Occupiers and visitors - indistinguishable one from the other. Present in a scene that extends beyond the field of view. An urban perspective where the background is the static architecture of buildings and the foreground is the kinetic architecture of human activity.”


TIm STONOR White ink on black paper410 x 297 mm

2F

“The Sky from Finsbury Circus”

Sunand Prasad is a Trustee of Article 25, co-founder of Penoyre & Prasad and past President of the RIBA (2007-09).

“If the streets and squares of the city are outdoor rooms the sky is the ceiling we rarely notice. These drawings show the shape and edge of the sky as seen past the tops of the buildings looking North, South, East and West. You can read the architecture of the buildings in these lines – the tame Po-Mo of 60 London Wall, the extravagant crenalations of Salisbury House and the classicism of London Wall buildings opposite, both turn of the century.”

Guide Price (set of 4) £200 - £250

SUNAND PRASAD

Black ink on tracing paper410 x 297 mm

2G

“Baroque Entrance, FinsburyCircus by Gordon and Gunton”

“I chose this because the rest of my square was pretty boring; the buildings face into the Circus and this seemed the natural focus. It also represented one of the heydays of the City - the Edwardian period when the City was the centre of the mercantile element of the British Empire, a role which was reflected in grand buildings such as this. As Chairman of Wordsearch I have been involved in the editing and design of brochures and other media for


PETER mURRAY

Ink and wash sketch 297 x 410 mm

many City buildings including a number in Finsbury Circus. Much of my work has been in Broadgate, a few hundred metres from this site, but a very different environment. I am also Chairman of NLA - the centre for London’s built environment, Director of the London Festival of Architecture and an Assistant to the Court of the Worshipful company of Chartered Architects.”

2H “An impression of Liverpool Street Station”

Born in Manchester, Professor Sir Colin Stansfield Smith studied architecture at Cambridge University. He was awarded a CBE, the RIBA Royal Gold Medal, and was later knighted. His career objectives include successfully exploiting the cultural diversity offered by context, history and craft, without being labelled a purveyor of superficial pastiche, one has to possess the talents, intellect and attributes of the practice of MJP Architects.

“A sketch, a quick cartoon, full of life and energy – a snapshot of a gateway, an entry and an invitation to travel. 19th century London Railway Terminals are all embracing. They reveal visual interaction of people going in different directions doing different things at different speeds. All these Terminals herald 20th century modernism and technology – a whole history of metal and glass development.”


PROF. SIR COLIN STANSFIELD SmITH Watercolour on paper

420 x 297 mm

2I

“St. Mary Woolnoth (Nicholas Hawksmoor)”

“I have always admired Hawksmoor’s buildings, the strength, the clarity, the sheer guts. You cannot ignore a Hawksmoor building.

And so:

St. Mary Woolnoth

‘like a piece of compressed matter vibrating on its foundations likely to explode at any moment’.

(Alastair Service)

and of course:


ALAN STANTON

Ink on cartridge paper

“A crowd flowed over London Bridge, so many - I had not thought death had undone so many. - Sighs, short and infrequent, were exhaled, - And each man fixed his eyes before his feet. - Flowed up the hill and down King William Street, - To where Saint Mary Woolnoth kept the hours - With a dead sound on the final stroke of nine.”

T.S.Eliot. The Waste Land (1922).

Enough said....”

2j

“London by London”

Well-done, Medium Or Rare architects was created by architect Jon Beswick, and Charlie Curtis through a 9 month overland journey through West Africa. We were designing and building shelters for HIV clinics using vernacular techniques. Now based in London, the practice collaborates with clients on high-end residential works. Our passion is for linking architecture with exploration. In January 2012 we are walking to the South Pole to celebrate Scott’s centenary and test a prototype shelter designed for extreme cold climates.

“For us the most important element of architecture is the experience. Rather than draw our square we wanted to see how the public viewed the space. We spent 8 hours outside Liverpool Street Station with sketch pads, pens, and a steely resolve against rejection. The public were given a continuous outline of the scene we prepared and the opportunity to draw what they saw. These results demonstrate that people see more than expected.”


CHARLIE CURTIS &jONATHAN bESWICk

Print of 40 original sketches by members of the public at Liverpool Street Station

3A

“Threadneedle Street”

Yasser is a Projects Director with Aedas with 18 years of experience designing buildings for the civic & education sectors. A Regional Design Champion for Aedas’ Southern Region, He is also the Public Sector Group Leader in the London office for which his responsibilities include leading a team of architects across several projects. Yasser is a member of the RIBA and was awarded a fellowship in 1996 to lead design studios and construction classes at the University of Michigan.

“I only had 3 hours to complete my drawing and had to choose my view quickly. Threadneedle Street was obvious- but also the most irresistibly challenging. The building site, with stacked tower cranes frame the early fabric of the Merchant Tailors’ institution. In the background two icons of the city, Nat West Tower & Swiss Re, loom. In the foreground another building is undergoing a transformation: the constantly evolving nature of the city.”


YASSER EL GAbRY

Pencil on paper297 x 420 mm

3b

“Twin Towers”

Born in 1950 and married to Janet with 5 children.

He is a key construction figure, advocate for change, strong communicator and visionary leader.

A Fellow of Royal Academy of Engineering, Honorary Fellow Royal Institute of British Architects, Fellow of Institution of Civil Engineers, Professor at Nottingham University and Edge Built Environment Think Tank co-founder.

“These two tapering towers span two generations... the city police station by my father with MacMorran and Aldermanbury Square where I was the engineer with Eric Parry.”


mARk WHITbY

Watercolour on paper297 x 420 mm

3C “Urban Rooms in the City”

Mossessian & partners is an international award winning studio for architecture, planning, technology and design. Established in 2005 by former SOM London Design Director Michel Mossessian, Michel and his experienced team are committed to architecture which adds cultural value and benefits society ‘beyond buildings’. Their design process is entirely collaborative, anti the ‘ivory tower’ mentality, alert to the needs of clients and attentive to the requirements of local planning authorities. Guide Price £200 - £300

mICHEL mOSSESSIAN Collage, various paper, leaves,flowers seeds

3D “London Wall at Night”

Innovation in cities inspires Matthew Lloyd and the practice he established in the early 90s: creating sensitive modern solutions on awkward sites, breathing new life into old buildings, interacting with and responding to the city. Over the last 20 years, the practice has completed numerous key projects, including: Brick Lane Housing, The Prince’s Foundation and St Paul’s Old Ford. Matthew created the Water & Solar Powered Lift installed on the Duke of York Steps for the London Festival of Architecture 2010.

“When I do a drawing the same as when I design a building, I work on it until I’m happy. I am incapable of doing an instant piece. There comes a point in the process where I’m content. The building in the foreground – One Coleman Street by David Walker Architects – is extraordinary. I come from a family of painters, as well as of architects, so I’m inclined to paint. The painting is a night shot because the view is more dramatic in the dark.”


mATTHEW LLOYD Mixed media on paper420 x 297 mm

3E “New Life in the City”

John founded John McAslan and Partners in 1996 after training with Cambridge Seven Associates in Boston and Richard Rogers in London. Some of his projects include the Roundhouse, the De La Warr Pavilion at Bexhill, headquarters complexes for Max Mara in Italy, Yapi Kredi Bank in Turkey and major transport and infrastructure schemes in the UK.

“My concept is to unhesitatingly re-landscape the key streets within the study area. I believe a radical re-balancing of natural resources within the urban context is a fundamental pre-requisite of providing a sustainable future for our children. Re-claiming the streets for people and local communities and trees is the first step at re-calibration of our cities and lives.”


jOHN mCASLAN Digital pieceSize to order

“NOBODY WILL BUILD ANYTHING (IN THE FOREST) AS LONG AS WE LIVE. WE CANNOT DIGNIFY THEFT.”

“It is evident that many wars are fought over resources which are now becoming increasingly scarce. If we conserved our resources better, fighting over them would not then occur…so, protecting the global environment is directly related to securing peace…those of us who understand the complex concept of the environment have the burden to act. We must not tire, we must not give up, we must persist.”ON RECEIVING THE NEWS OF BEING AWARDED THE NOBEL PEACE PRIZE, 2004

NEW LIFE IN THE CITYMy concept is to unhesitatingly re-landscape the key streets within the study area. I believe a radical re-balancing of natural resources within the urban context is a fundamental pre-requisite of providing a sustainable future for our children. Re-claiming the streets for people and local communities and trees is the first step at re-calibration of our cities and lives.

Your Square - 3E

10x10 Drawing the City

See p.2 for Brief

Name: John McAslan

In Aid of Article 25

Supported by Allies and Morrison, NLA and Sotheby’s

Sponsored by Argent

Endorsed by The Mayor of London, Boris Johnson

© 2011 Google Map

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“NOBODY WILL BUILD ANYTHING (IN THE FOREST) AS LONG AS WE LIVE. WE CANNOT DIGNIFY THEFT.”

“It is evident that many wars are fought over resources which are now becoming increasingly scarce. If we conserved our resources better, fighting over them would not then occur…so, protecting the global environment is directly related to securing peace…those of us who understand the complex concept of the environment have the burden to act. We must not tire, we must not give up, we must persist.”ON RECEIVING THE NEWS OF BEING AWARDED THE NOBEL PEACE PRIZE, 2004

NEW LIFE IN THE CITYMy concept is to unhesitatingly re-landscape the key streets within the study area. I believe a radical re-balancing of natural resources within the urban context is a fundamental pre-requisite of providing a sustainable future for our children. Re-claiming the streets for people and local communities and trees is the first step at re-calibration of our cities and lives.

Your Square - 3E

10x10 Drawing the City

See p.2 for Brief

Name: John McAslan

In Aid of Article 25

Supported by Allies and Morrison, NLA and Sotheby’s

Sponsored by Argent

Endorsed by The Mayor of London, Boris Johnson

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3F

“Austin Friars” &“Austin Friars Reflected”

Greg Penoyre, co-founded Penoyre & Prasad Architects with Sunand Prasad in 1988. He has played a central role in the design, procurement and delivery of the practice’s 300 plus projects spanning commercial and public sectors. He brings a lifelong interest in the art and craft of design to the practice and is involved in project design from strategic level through to detail. Greg is passionate about drawing and the communication of architecture.

“On first looking at my square I was puzzled as to what to draw, a quiet back street behind London Wall. Interestingly Austin Friars was home to Thomas Cromwell, a priory that was ‘sprung’ from the Church. Part of this is now the Drapers Hall with a tiny garden in an otherwise hard surfaced place. I drew here until the street cleaners moved me on and turning, drew the view reflected in the glass office block on Throgmorton Avenue. In reflection the view is more sinister - darker and distorted”.Guide Price (2 pieces) £300 - £400

GREG PENOYRE

Pen on paper2 pieces 410 mm x 297 mm

3G

“Monochrome: Impressions of the City”

Tina John is an Indian architect with a particular interest in regeneration and the sustainability of cities and their built form. She currently works with Hunter Evans Ltd. a London based multidisciplinary practice.

“3G presents the embodiment of London’s juxtaposition of old and new architecture. The towering Building 42, and Swiss Re Headquarters - the backdrop for quainter buildings lining Great Winchester Street. On a grey Saturday morning the city seems engulfed in a monochromatic aura; it lacks its usual vibrancy and the people that animate the streets on a weekday. Faced with those mystical entities - Tower 42 and the Swiss Re Headquarters - soaring above the city is reinvented.”Guide Price £80 - £120

TINA jOHN

Pencil & Ink on paper297 x 420 mm

3H “Level 42”

Angela Brady is the current President of the RIBA; director of Brady Mallalieu Architects; and is a TV broadcaster based in London.

Angela has been working with fuse glass for 5 years and makes many glass objects and artworks. She has exhibited in many art exhibitions and is a great supporter of Article 25.

“‘Level 42’ glass artwork is the view of the crossroads taken from the Nat West tower café bar on 42nd floor. It is the street scene below. Each small glass piece has been hand cut and fused in a kiln. It can be wall mounted framed or back lit on the light box provided.”

ANGELA bRADY


Hand crafted work of art in fuse glass , mounted in light fitting260 X 560 x 6 mm

3I “The Golden False Acacia”

Tim has been involved in major projects of Architecture and Urban Design with Allies and Morrison for many years. His love of being in the city expresses itself not only in his determined attachment to his bicycle but also in his unstoppable habit of drawing.

The idea of 10x10 for him touches on many aspects of what he most cherishes about being an individual in the thick of a bustling metropolis.

“I am at a crossroads – Bishopsgate, Camomile, Wormwood. What shall I draw? A shiny Heron or a slice of London’s Higgeldy Piggeldy ? An empty corner, as structures rise and fall in preparation for 100 Bishopsgate (A&M’s skirted beauty)? No.

I will sit on a wall on a grey afternoon in a quiet London churchyard and paint the saturated green of the ‘Golden False Acacia’ tree, against the warm pink of St Botolph’s.”Guide Price £150 - £250

TIm mAkOWER Watercolour & blue pencil on paper420 x 297 mm

3j “Life of a crane”

Melissa Woolford is the director of Nous, a leading architecture and design consultancy and gallery based in London.

Nous has worked with clients such as Unilever, Campari, The Mayor of London, and Ocean Spray.

Nous’ aim is to provide a platform for established and emerging architects to pursue the most compelling issues and research affecting architectural practice, and facilitate collaboration between architects, designers and businesses.

“I am absolutely fascinated by cranes in the sky. They often tell the story of the ever-changing built environment and remind us when change is taking place, like migrating birds. Their resemblance to birds is quite remarkable in the way that they roost on top of structures, flock to areas in groups, and move elegantly, like real life cranes. This piece is a homage to the city crane and its exciting life atop the rooflines.”


mELISSA WOOLFORD Metallic print on MDF594 x 420 mm

4A “Restaurant, Gutter Lane”

Henning has recently worked with Article 25 on a project in Uganda, helping design a vocational training centre for former child soldiers.

“Surrounded by anonymous corporate offices I was touched by this sensitive and thoughtful contemporary intervention. Finding this charming, but unassuming building was a bit of a discovery.

Ultimately it reflects some of the concerns we have in our work - the creation of serene and humane space.”


HENNING STUmmEL Pencil on paper420 x 297 mm

4b “Guildhall / Overcast”

After receiving his education at Harvard University and Yale University, Chris leads the Urban Development studio in our London office. We focus on socio-economic positioning, urban structure, and the creation of civic spaces. As Vice President, He is focusing on emerging geographies in the Middle East, Levant, North Africa, and Turkey. His specialites involve Urban Design, Net-Zero Carbon Strategies, Aerotropolis Development, Development Management.

“Guildhall is an extraordinary place Although I design cities, I’m originally from New York, a relatively new city. I liked the idea that the original mass of the Roman amphitheatre and the remains of a great 13th-century gatehouse influenced the siting of the current buildings. You can imagine 2000 years of history by looking at the open spaces. It was a cold and overcast day, and there were very few people around. I shared cups of cocoa with Victoria Jinivizian who was working on her drawing around the corner.”Guide Price £500 - £600

CHRIS CHOA Graphite and ink on paper410 x 297 mm

4C

“Gresham Street Blues”

“Most of the work of my practice is small scale refurbishment in central London, for private residential clients although we have worked on Hotels, and for an organisation that looks after street people. For twelve years I had a monthly column in Building. I am interested in illustration, (not especially architectural illustration) line drawings, caricatures and cartoons. I bought and restored 2 derelict 1830’s terrace houses in Stepney 35 years ago and we have been living there ever since.”

“Something amazing about London, as an architect, is the way one is constantly surprised by buildings and places that one never knew existed. I had walked past St. Lawrence Jury without taking in the little pond. When I decided to draw it in situ I found myself wanting to show the sixties baroque Seifert building in the foreground, in contrast with the tiny pond. It was a chilly November day so I opted for a financial figure in the picture.”


GUS ALEXANDER

Pencil drawing with marker and aquarrel pencil and watercolour brush297 x 420 mm

4D & 4E “Towards Lothbury from Gresham Street”

Victoria Jinivizian is a painter and poet graduating from The Slade in 1995. As well as undertaking commissioned work she has exhibited in many group exhibitions in London and held two person shows with painter Toby Wiggins in Bath and Marlborough. This year she read her own work at the Marlborough Literature Festival.

“From the threshold of my square, the view of Lothbury from Gresham Street demanded to be drawn. It contains visual excitement in architectural terms, materials and colour: reds and pale blue greens punctuating the various grey spaces. Clean curves lead to intricate lines and shapes which clamour into view - relieved by blank sky. The Bank of England is nudged right by the Bank of China and the tree rising from the pavement between them, a lonely note of nature amongst these monumental facades.” Guide Price £400 - £500

vICTORIA jINIvIzIANPencil drawing841 x 594 mm

4F

Untitled

“Trained as an architect, I work mainly as a developer and housebuilder. Painting and drawing is a good way for me to keep looking at places and things, rather than getting overwhelmed with the joys and troubles of getting projects to work.”

“The City of London seems odd as the parent of the bigger London which I know. I don’t have any connection with the bank buildings and the dense street pattern which I know tells of a medieval history. My drawing takes a piece of pavement, something common to most of London. Here it is stone, big pieces which I don’t imagine would be laid now. Over the top of this rather noble layer comes the information from services surveyors, coded and mystifying in their colours.”


CRISPIN kELLY

Watercolour on paper

4G “Fibrous Lumina”

Alisa Andrasek is a Principal of Biothing and teaches at the Architectural Association and UCL Bartlett in London.

Andrasek was born in Croatia, she graduated from the University of Zagreb, and holds a Masters in Advanced Architectural Design from Columbia University. In 2001 she founded Biothing operating at the intersection of material praxis, complex systems and computer science. She lives and works in London.

“Fibrous Lumina has a feel of very intricate hand drawing - yet it is completely synthetic and “unnatural”. It was generated by filtering data of the light values sampled from the built fabrics on the site. Levels of brightness control the density of fibrous drawing. Brighter areas have less density and vice versa. Such data from physics of light, humidity, air flow and similar could be incorporated in designing higher resolution architecture, which has been one of the obsessions and research areas of Biothing.”


ALISA ANDRASEk Digital print420 x 297 mm

4H “Credit Crunch”

Narinder studied architecture at Leeds Metropolitan University, He graduated with first class honours in 1996. After a year’s placement at Foster and Partners, Narinder went to the Bartlett School of Architecture. He received a Diploma in Architecture with Distinction in 1999. Narinder brings his experience and knowledge as a member of a Design Board overseeing the design and development of all projects in the studio. Narinder’s expertise lies in his perspective drawings of which he has produced over 5000, many of which have been exhibited at the Royal Academy of Arts.

“Square 4H in the 10x10 grid includes Tower 42 and I used site images to create a mosaic of a credit card. By making a patchwork of city images, I wanted to reflect the area’s fascinating mixture of new and old buildings, as well as our different perspectives of what happens in the square mile – the way we see the city from the outside, looking in, and the consequences, closer up, of the credit crunch for the people based there.”


NARINDER SAGOO Digital print420 x 297 mm

4I “Old City New City’”

Ken founded Make in 2004 having worked on some of the world’s most iconic and ground-breaking architectural landmarks while at Fosters & Partners. Make is a creative and imaginative international practice which has recently completed several high-profile schemes including the London 2012 Handball Arena, The Cube in Birmingham, office refurbishment for HSBC Private Bank in Geneva and the Gateway Building for the University of Nottingham.

“I found it fascinating to see the Gherkin juxtaposed with the historic City and even more construction underway, including the figure of the builder as a symbol of this.”


kEN SHUTTLEWORTH Pencil on paper420 x 297 mm

4j “Drawing the City - square 4J”

Tim Ronalds, Tim Ronalds Architects

“On St Mary Axe, reflected in the yellow light of a 1980s gold mirror clad facade, three buildings of different eras captured in a fourth.”


TIm RONALDS Pencil and watercolour on paper420 x 297 mm

5A “Engineers view from inside No1 New Change”

Hanif Kara is design director and co-founder of London-based structural engineering practice Adams Kara Taylor (AKT II). Kara was the first structural engineer to be selected for the Master Jury for the 2004 cycle of the Aga Khan Awards for Architecture. He is a fellow member of the RIBA, the Institute of Structural Engineers and the Royal Society of Arts. In May 2011 the Association of Consulting Engineers awarded him the Engineering Ambassador award for his contribution to design consultancy and engineering. Guide Price £350 - £450

HANIF kARADigital image420 x 210 mm

5b “St-Mary-Le-Bow, London Ec2”

George L. Legendre is a founding partner of IJP, a London-based practice exploring the natural intersection between space, mathematics, and computation.

“This image is about the miracle of London.The duplication turns our church into a corner Palazzo of the Italian Renaissance, mysterious events unfold. The gentleman (centre) paces away from his reflection in the cityscape’s invisible mirror. Buses run on the wrong side of the road. Shadows form on alternate sides, while a sign informs us that the church is open Saturday. Just another day in the capital.”


GEORGE L. LEGENDRE Digital imaging printout on card400 x 200 mm

5C

“Dawn Glow, square 5D,Square Mile, London 2011”

Roger is an architect, photographer, product designer, translator and mini entrepreneur. His background experiences include: farming and building in the Himalayas, restoring antique furniture and statues in Verona, translating in Venice & working on the Orient Express. Roger studied architecture in Venice, Barcelona and Cambridge. He admires and supports the work of Article 25; architecture at its’ most essential, delivering urgently needed, dignified shelter in the most challenging of circumstances.

“I like the shot as the sun came up pre-dawn on a clear day on people hurrying to work, dwarfed by one of the massive buildings of the City. The harsh facade was softened by the dawn glow and the smile of a cheerful ‘putto’ overlooking the procession below. The building has plenty of rhythm and detail to discover. I had fun exploring a chunk of the square mile, struck by the fantastic diversity of scale, style, texture and symbol.”

Guide Price (Set of 4 and 2) £450 - £650

ROGER THOmSON

Photographic print420 x 297 mm

5D “Bank of England”

Peter Ayres is an architect at Heatherwick Studio.

“The piece focuses on the north-west corner of the Bank of England: I am particularly interested in the objects that accrete in our streetscapes; phone boxes, electrical boxes, traffic signs, and the recently added wayfinding points for bicycles. As I drew at the weekend, the streets were quiet save for a few stray tourists – could I point them in the direction of the Tower of London? Another man was looking for a gym – Did I know where it could it be?”


PETER AYRES Pen & watercolour on paper440 x 360 mm

5E “An Architectural Pantheon”

Edward Jones is a Director in the London based practice of Dixon Jones, architects to most notably the Royal Opera House, The National Portrait Gallery and the East Wing of the National Gallery. He was awarded an Honorary Doctorate of Letters from the University of Portsmouth, an Honorary Fellowship from the University of Cardiff, and in 2003 an Honorary Professorship from the University of Cardiff. In 2011 he was made an Honorary Fellow of the RIAI and was awarded a CBE.

“At this city intersection John Soane (Bank of England 1808) is placed in this Pantheon of English Architects – with Wren (St Stephens Walbrook 1672), Hawksmoor (St Mary Woolnoth 1716), Dance (Mansion House 1739), followed by Lutyens (ex Midland Bank 1924), Cooper (National Westminster Bank 1930) and Stirling (No.1 Poultry 1994). These buildings confidently define the limits of public space unlike the recent arrivals (caricatured in the sketch).”


EDWARD jONES Collage and black ink drawing297 × 420 mm

5F “Speckled Jim”

“The pigeon is a symbol of our increasingly urbanised lives. Walking through the desolate city on a Sunday morning it felt fitting to capture the moment, the bird landing on the Royal Exchange. The city is the amalgamation of these seemingly unimportant moments. Collecting them in drawings they help assemble an image of the city in our minds; a tool that helps us understand our place within it.”


DEREk jOHN DRAPER Mixed media420 x 297 mm

Derek joined Aedas in 2002 moving to London in 2004. He has received the following awards for his architectural design work:

‘MAKE Student Sustainably Award’; 2008 undergraduate category and the 2009 post graduate category; 2009 RIBA Presidents Medals Nomination; 2011 RIBA Presidents medals Nomination; RIBA London Award for Greenwich University in 2010; Shortlisted for the 2009 Urban SOS competition.

5G “Profound is the Air”

Francisco González de Canales and Nuria Alvarez Lombardero run the intermediate unit 8 at the Architectural Association. They are directors of Canales & Lombardero with offices in London and Seville.

“London Wall is a superimposition of different strata in the City of London. This work tackles the particular encounter between two pieces of urban fabric in the City: the Victorian - heavy, stolid and stable - and the contemporary - light, fickle and changing -. The encounter is “spatilised” as an architectural experience/proposition which reflects on the dialectics of the city history and global cities condition today.”


NURIA LOmbARDERO & FRANCISCO GONzALES DE CANALES

Collage210 x 240 mm

5H “Park”

Guide Price (2 pieces) £150 - £200

NIALL mCLAUGHLIN Digital photograph, plastic objects, crayon, pavement300 x 420 mm

Niall McLaughlin was born in Geneva in 1962 and established his own practice in London in 1990. Niall McLaughlin Architects make high quality modern buildings with a special emphasis on materials and detail. Niall won Young British Architect of the Year in 1998, he was one of the BBC Rising Stars in 2001 and his work represented Britain in a recent US exhibition Gritty Brits at the Carnegie Mellon Museum.

5I “Kokoro Shelter Globe”

Born in Kagoshima in 1953 Takasaki graduated from Meijyo University, went to Europe and then worked under Professor Sir Peter Cook. He then worked with professors at Stuttgart University and the Technology University of Graz. He established the Takasaki Monobito Institue in 1982 and he is currently an Honorary Fellow of the RIBA and a Professor of Kyoto University of Art and Design.

“The architecture exists in present, but it is absent from this era and goes to any other places or times. The presence of architecture stimulates human subconscious. There comes a mysterious world when it is floating around the utopia in the subconscious. It is the fantasy of architecture that future architecture should aim spiritually.”


TAkASAkI mASAHARU Collage and message410 mm x 205 mm

5j

“30 St Mary Axe”


LORD NORmAN FOSTER

Pencil on paper210 × 297 mm

“Swiss Re is instantly recognisable from above. You can see the space at the pinnacle is for people to enjoy the incredible views. This top is different from all the towers. Their tops are filled with machinery. Our tower embodies diverse values – about conserving energy, making the workplace more enjoyable by bringing light, views and fresh air deep into the heart of the interior.

People communicate within the building in the same way that the tower communicates with the city itself. We are proud that the “gherkin” has become a popular symbol of London. It was impossible to resist the temptation to sketch it for Article 25’s auction – showing it lit up like a beacon with the green lungs that wrap around it.”

6A “A glance by any other street would look as sweet”

Karl Singporewala is a young architect who originally gained notoriety by vowing to sell ‘any drawing his tutors ripped off the wall...’ This helped fund his architectural education and since then has gone on to win numerous domestic and international awards for architecture and drawing. His art work is exhibited and sold in galleries throughout the UK and is a regular at the Royal Academy of Arts Summer Exhibition.

Karl Singporewala felt blessed that his 10x10 square featured a prominent view of St Paul’s (one of his favourite buildings).Drawn on recycled cotton rag on the junction between Watling Street and Bread Street and cut and layered together in the maternity ward of East Surrey Hospital, Karl chose to sketch Christopher Wren’s famous dome as all other surrounding buildings paled in comparison.


kARL SINGPOREWALAInk and watercolour on layered handmade cotton paper410 x 205 mm

6b

“Gin Lane 2”

Laurie Chetwood is an architect who runs his own practice - Chetwoods. Highlights include Architectural Practice of the Year, shortlisted for the Stirling Prize and holder of two CABE gold medals. He is an examiner at Birmingham University and has won three gold medals for show gardens at the Chelsea Flower Show. As an artist, he has exhibited at the Royal Academy - his artwork was used for their “Paper City” exhibition.

“The piece of art is based on Hogarth’s ‘Gin Lane’ which was a commentary on the ills of the day, fuelled by Gin and the detrimental effects it had on people’s lives. This work is brought up-to-date with a sample of some of the ills that afflict our society today - all in the shadow of St Mary-Le-Beau Church. The Church was immortalised in the nursery rhyme Oranges and Lemons, according to tradition, a true Cockney must be born within earshot of the sound of its bells.”


LAURIE CHETWOOD

Digital printSize to order

6C “The Yellow Column””

Celia Scott is an architect and sculptor. She studied at Bath Academy of Art and at the Bartlett School of Architecture. She worked as an architect for Norman Foster, and spent time working in New York for various architects before returning to London to set up her own practice, Maxwell Scott Architects.

Scott’s sculpture has been exhibited in a solo show in New York. She has sculpture in the Scottish National Portrait Gallery, the British Library, The Dean Centre Edinburgh and Prince Charles’ private collection.

“Number One Poultry is a very humane building usually full of people making their way to work. There are people sitting at cafes drinking a coffee or drinking at the pub: it is a hubbub of busy urban life. On the top floor, those with money enjoy the terrace restaurant of the Coq d’Argent.

At the back of the building, away from the main streets, is a pub with a yellow column, inside and out. People sit near this column, quietly, away from the crowds and traffic.”


CELIA SCOTT Graphite and pastel on paper410 x 295 mm

6D “Suspended Movement”

Odile has been involved with various projects worldwide, including a few public housing projects and public and private projects. She utilises a 3-D type model in many of her works. Guide Price £250 - £350

ODILE DECq Collage on board420 x 297 mm

“The objective was to capture the dynamic of this square, a complex system trapped between Stirling’s architecture and the London Magistrate Court. In a collage the diversity and complexity of the square is heightened. The graphic movement of architecture is exposed and exploited through the two main vanishing points whilst the Magistrate Court, a prominent figure, is portrayed as a monolithic shape. The monolith appears to be suspended in the movement, creating a sense of cognitive disorientation.”

6E “All the Commuters”

Haddock’s works are crafted and tooled from mdf and energized by colour. They evoke a spatiality which provides a new sensory navigation through urban space.

“‘All The Commuters’ is a portrait of the workers crossing the public space in Simon Haddock’s square.

The cloud-like formation is suggestive of a map of the world, recalling the many nationalities that populate our great city.”


SImON HADDOCk Painting on board500 x 330 mm

6F “Cornhill Decorum”

Fred Pilbrow is a founder partner of PLP Architecture established in 2009 by the five partners who had formerly run KPF’s London office. In the City of London, whilst a partner at KPF, Fred was responsible for the design of the Heron Tower. He is currently working on the next phase of the Heron Plaza: The Four Seasons Hotel and Private Residences London. Fred is working on two projects for Crossrail at Farringdon and Bond Street and the design of the new national centre for biomedical research, The Francis Crick Institute, in collaboration with HOK. Guide Price £120 - £250

FRED PILbROW Watercolour on paper400 x 400 mm

“A series of grand banking palazzos face the Royal Exchange along the southern side of Cornhill, interestingly, small pedestrian laneways penetrate the block and are deftly integrated into the architecture of the facades. The entrance to each is balanced by a matching interior doorway on the opposite side of the elevation, both openings are treated with equal weight, the effect downplays the visibility of the public routes, stressing their intimate, interior quality. The architectural approach is one of order and decorum.”

6G “City Voids”


kATHRYN FINDLAY Pastel on textured paper410 x 297 mm

6H & 6I

“Lloyds Building at Sunset”

An author, broadcaster and designer, Kevin is best known for Channel 4’s Grand Designs and for his annual coverage of the Stirling Prize. In 2006 Kevin formed Hab Housing, the subject of a new two-part Channel 4 series. In partnership, the company is now building sustainable housing schemes across the West of England.


“I chose this view as it was the best view. The Lloyds building has always been one of those hairy feminine buildings in a city which is hard, sheer and very masculine in contrast to the staid and morose surroundings of the Edwardian Architecture.”

kEvIN mCCLOUD

Pen, ink, watercolour and gouache on paper310 x 410 mm

6j

“Happiness in the City”

Jinita Batavia studied at the Manchester School of Architecture, graduating with 1st class honours in 2006, she became a qualified chartered architect in 2011 working at Foster and Partners. Her personal work has been internationally published in The Guardian and Blueprint Magazine. She has spoken at Architecture for Humanity and Open Architecture seminars. Jinita’s expertise lies in her innovative designs through first hand research of sustainable developments. She addresses current issues through creations of thoughtful, inclusive frameworks.

“The City of London is fuelled by money, power and smartphones. Using an application on a smartphone, I have captured the enchanting satellites in my chosen grid that are overlooked but fundamental to the life of the City.”

A to B = Advancing,

X to Y = Appreciating,

AB + XY= Happiness in the City


jINITA bATAvIA

Digital piece (Nikon D3100, Apple iPhone 4S, CS5 Adobe Photoshop)297 x 420 mm

7A “St. Paul’s Framed”

Ted Cullinan is an inquisitive, inventive and passionate composer and maker of buildings. He received a CBE in 1987 for services to architecture, and was elected a Royal Academician in 1989 and an Honorary Fellow of the Royal Incorporation of Architects in Scotland in 1995. In 2005, he achieved a Special Commendation: Prince Philip Designers Prize, for his outstanding achievement in design. In 2008, he was awarded the RIBA Royal Gold Medal in recognition of a lifetime’s work in architecture and in 2010 the RSA made him a Royal Designer for Industry. Guide Price £250 - £350

TED CULLINAN Pen on foamboard420 x 297 mm

7b

“STOP THE ROT”

Born and raised in Italy, Barbara Weiss attended the AA between 1974-79, before transferring to work in a variety of New York design practices, including Johnson and Burgee. Having returned to London in 1982, Barbara was project architect and Stirling Wilford for a few years on a variety of Italian projects. Barbara Weiss Architects was founded in 1987; it currently employs 18 staff. It is best known for the high quality residential projects it undertakes, as well as for its award-winning NHS flagship Brent Birth Centre.

“With 50% of buildings in the Square Mile demolished and replaced since 1985, historic locations such as the Mansion House are now traffic junctions surrounded by a depressing array of sub-standard office blocks. Views of world-renowned monuments are obliterated or suffocated. The scale of new developments is incongruous, materials unsympathetic to context with overall design and detailing clumsy. The identity of the City is in danger of being lost forever. Action is needed urgently to STOP THE ROT.”Guide Price £150 - £250

bARbARA WEISS

Photographic collage410 x 297mm

7C

“London Stoned”

Steve Edge is a branding guru as well as a designer, jockey and fisherman. Being severely dyslexic, Steve has never read a book. He attributes his success in being diagnosed early (4 yrs). He now believes that if he can look at a piece of design before it leaves the studio and immediately grasp its message, then anyone should be able to understand it. Recently featured in The Evening Standard, he has acted as a graphic designer many times for Article 25, most notably our website and aiding us with visual materials for the 10x10 event.

“My area was Cannon Street, home to the London Stone, rumoured to be the centre of London and the marker for Roman measurements of distances. Mentioned by Shakespeare and Dickens, I am fascinated by its mysterious history. I wanted to portray this whilst highlighting the colours that make London the world’s greatest cosmopolitan city, as it always has been. I hoped to capture the colour and fun so unique to our city - London Stoned.”


STEvE EDGE

Digital print297 x 420 mm

7D “Wren and Foster at Walbrook”

Jack studied architecture at the University of Bristol and began his career at Powell Moya. He set up Jack Pringle Architects in 1981 before founding Pringle Brandon in 1986. Jack is the immediate past president of the RIBA. His clients include Allen & Overy, Barclays plc, Diageo and London Underground.

Jack is also the Chair of Article 25, the beneficiary charity of 10x10. Guide Price £200 - £300

jACk PRINGLE Black and white sketch on paper420 x 297 mm

7E “King William Street”

Giacomo Costa has exhibited internationally and represented Italy at the 2009 Venice Biennale Italian Pavilion. Guide Price £200 - £250

GIACOmO COSTA Sketch on paper410 x 210 mm

7F “Lombard 24”

“I work as a full time architect in Clerkenwell, and as a children’s book illustrator and budding photographer during any spare moment I can steal.

I grew up reading Roald Dahl books, and particularly enjoyed Quentin Blake’s wry illustrations, which led me onto making my own short stories with an emphasis on the illustrations. I’m currently working on a rather macabre illustrative story, which was inspired by a work trip to Boston, where there was an abundance of fat squirrels!”

“This impressive and rather saucy sculptural scene situated in Lombard Street above the entrance to an insurance company is surprising, considering the position between large-scale offices of the 90s- 00`s, with Wrens church and a late 18th century office opposite. Presumably the entrance was commissioned to demonstrate power when the building was built in 1910, at a time when most banks had head offices in Lombard Street.”


SARAH GRAY Watercolour and ink illustration on water-colour paper410 x 297 mm

7G Untitled

Artist. Guide Price £250 - £350

NATHAN COLEY Gold leaf on paper, mixed media410 x 205 mm

7H “Temporal Fragments of Lines, London”

I chose this view as I am always attracted to the complexities of geometries and the lines that scaffoldings and structural bars create on building sites. This one is a particularly amazing and complex site on Fenchurch Street and my eyes were immediately drawn to it. However, I decided that this site was interesting as it could be any location, but at the same time was very specific to London in its scale, complexity, the background buildings and the cores being created. Guide Price £350 - £450

TAkERO SHImAzAkIA series of 3 sketches by hand on card with colours/paint in digital application

“I wanted to make a drawing that was more abstract than literal, so that the drawing itself was a kind of an architectural ‘idea’, rather than just an observation. So, I separated some of the ‘surfaces’ and the ‘objects’ from the ‘lines’ and the ‘bars’ in the way colour was applied to the drawing. I have always being fascinated by the delicate lines and lightweight elements forming spaces.”

7I

“Throgmorton Street”

Jamie is a Part 1 Architectural graduate from Sheffield Hallam University and has been working at Aedas since May 2011. During his time with the company Jamie has assisted on a number of residential and transport projects in London and he is looking to continue his architectural studies within the capital in the near future.

“A quiet narrow street running parallel to Threadneedle Street offered contrasting experiences of perspective, immediacy, enclosure and scale with a framed distant view of Heron Tower.”


jAmIE EDEN

Pen and pencil on cartridge paper210 x 148 mm

7j “Composition in Classical”

Andrew leads Capita Symonds Commercial Sector which incorporates all work from Urban Design and Masterplanning through new build, refurbishment, adaptive re-use to interior design, space planning and bespoke brief analysis and formation.

He has 23 years experience of high design profile national and international award winning experience as commercial and education sector director at John McAslan + Partners and as project leader and senior associate at James Stirling Michael Wilford and Associates.

“London is full of many undiscovered architectural gems. Many people pass these, day in day out, never noting these intricate works of art. This drawing brings together some of the many striking stone carvings that adorn our City’s buildings, to encourage people to explore the hidden beauty of London.”


ANDREW PRYkE Pen and ink on paper420 x 297 mm

8A

Aimee Emerson studied Illustration at the Arts University College Bournemouth. Since graduating in 2009 she has been working on some freelance projects whilst gaining experience within various creative organisations such as Creative Health Lab and printmakers London Print Studio. Aimee began working part-time at Aedas as a receptionist in August of this year, whilst she continues to work on her illustration practice in her spare time at her home in South London.

AImEE EmERSON“Threadneedle Street”

“Walking around I was most drawn to this viewpoint along Threadneedle Street from Bank Station. I’m always attracted to the juxtaposition of old and new buildings and I liked that I could see the ‘Gherkin’ out of the corner of my eye, with older and heavier buildings in the foreground. As an illustrator I like to play with perspective and explore different aspects of the scene as I draw. I find that this often results in a playful depiction of my surroundings.”



8b

“30 St Mary Axe ‘The Gherkin’”

As Article 25 Trustee, Lord Norman Foster, is a strong advocate of crafting sustainable green designs encased in sleek, glass-fronted buildings.

“Aesthetically, the SLS technique employed on this model highlights the careful composition of glass spiralling from ground level to the top, both on the interior and exterior that makes up the surface of ‘The Gherkin’. With energy and performance a concern, this environmentally conscious structure is a defining feature of London’s skyline, a landmark of internationally renowned architecture.”


NORmAN FOSTER

SLS (Selective Laser Sintering) modelScale 1:500, 170 x 170 x 445 mm

8C & 8D “Magister Equitum”


PIERS GOUGH

“An historic part of the City where the extraordinary Dick Whittington, four times mayor, first fleeced the system and then gave big to charities. Now bounded by Cannon Street Station – benign and Lower Thames Street – diabolical (the bit where the fur traders used to be). The former has a huge building over it with an X structure that seems to be a 70’s retro


style exclusive to this particular area of the City. The latter ruins a pocket park called Whitington Gardens. Seeming to challenge the charging traffic are two identical bronze casts of a caped horseman by Duilio Camberllotti (Plaster 1924, Casts 2005) which seemed more exciting than the buildings.”

8E “As above so below”

Jenny Harborne is principal of IMAGO architects which she set up 12 years ago to produce work based on the tenets of ecological, conceptual and metaphoric design. The practice has produced some forerunning housing schemes for competitions and been widely published and exhibited. Work currently focuses on ecological high end house modifications, with particular expertise in frameless glass - invisible cantilevered magic stairs and bridges- and is now commencing a series of sculptural one off houses abroad.

“Turning up Abchurch Lane on the North of Canon Street you arrive in Abchurch Yard. The courtyard paving depicts a radiant centre with orbiting globes. The sky above has a jagged profile, but one side of the yard is formed by St Mary Abchurch, a Wren Church of 1686. Once inside the church and looking up, you find an unusual domed ceiling, with the same illustration depicting a central radiance and four ovoid rooflights.”


jENNY HARbORNE Permanent marker on heavyweight matt paper420 x 297 mm

8F

“Oranges and lemons”

Mark Cazalet is a London based artist, trained at Falmouth School of Art, and two post graduate scholarships at L’Ecole des Beaux Arts in Paris. He is happiest in urban or woodland environments responding to the specific sense of place through his heightened chromatic sensibility. Chief influences are Romanesque carvings, Muhgal miniatures, Indian and West African textiles, Matisse, English neo-romantics and Italian 20th century metaphysical painters.“It is a strange phenomenon that one is never so invisible than at rush hour in the City of London. Even with large boxes of


mARk CAzALET

Chalks on paper420 x 300 mm

chalk pastels spread out I might as well have been a statue. I like the contrast between the office workers’ homeward rush and the quieting gloom of the back street; like sitting still on a rock with the tide sweeping past. Watching the daylight being replaced by municipal lighting is theatrical; local colours morph into that odd indefinite palette of warm yellow-greys, while tonal contrasts deepen. It is a meditative experience I would recommend, to feel for a few moments richly connected with the life of the City, yet set apart.”

8G “Small, Big, Small?”

Glenn Howells is the founding director of Glenn Howells Architects and established the practice in 1990. Glenn has led the practice to win numerous major design competitions and awards for a diverse range of building types including residential, commercial, urban regeneration, education and arts projects.

Glenn is on CABE’s LOCOG Design Review Panel. He is Chair of MADE and also Chair of the IKON Gallery in Birmingham. He is a visiting Professor at Nottingham Trent University.

“The drawing looks at the changes to the site over the last 130 years, and explores how it might change over the next century.

It questions whether the shift to increasingly large organisations and simplification of land use with the impact of this on the City grain is inexorable, or whether changes in technology, energy availability will mean a reversal of scale and increasing complexity.”


GLENN HOWELLS Coloured pencil on tracing paper420 x 297 mm

8H “Tap door”

Frank Green BA (Hons) Dip. Arch RIBA FRSA. Architect. Born London, England. Partner at BUJ Architects.

“The work records a moment in time and reflects upon the relationship between acts of creation, between reality and contingent reality, equality and inequality and the displacement of the church, in the reading of the City and it’s skyline, by new edifices of commerce.”


FRANk GREEN Felt tip pen and highlighter pen on cartridge paper420 x 210 mm

8I “Behind Bars”

“In my square I was particularly interested in the public realm which was largely ‘Behind Bars’ especially on a Saturday. Most courtyards were gated with no public access. I chose a series of views that typified the tall narrow view corridors that you find in that part of the City. These fit with the tall, narrow proportions of a railing or fence. I noticed that there were many references to animals, the statue of a horse, a sheep on a gate, references to cows and cocks in text on the pavement. What is most striking about the area is Guide Price £175 - £250

mARY bOWmAN Photography, acetone transfer, pen and ink on cartridge paper370 x 210 mm

the mix of historic buildings and striking contemporary buildings like Lloyds and the Swiss Re building by Fosters where I worked for ten years. The public realm is such a vital part of a vibrant and contemporary city. The more the public realm becomes truly ‘public’ the livelier a city will be.”

8j “Mortality reminder at St. Olave’s”

Robert Kennett is a director at Eric Parry Architects and lives in Westminster. Two decades with this practice has brought the toils and joy of the St Martin-in-the Fields renewal project, and with private and commercial clients successes such as 30 Finsbury Square.

“My square is at the eastern edge of the 10x10 grid where Fenchurch Street commuters pile out into the lanes of EC3 and at the weekend tourists stroll to The Tower. Amidst the banal post war offices is a vestige of life and death in The City in Pepys’ church, St. Olave’s.”


RObERT kENNETTPencil and crayon on paper420 x 297 mm

9A “City Line”

Oliver Barratt studied sculpture at Falmouth School of Art and graduated in 1985. He then worked with adults with learning difficulties for several years before being awarded the Henry Moore Fellowship. From 1992 he has established a sculpture studio in Kent. Oliver has worked on numerous public commissions, most notably Skyline that was commissioned for Liverpool European City of Culture in 2008. In 2002 he installed the Everest Memorial close the Everest base camp in Nepal and is currently working on a project in Antarctic.

“The site I was given is layered with contradictions. Densely built with high real estate value, the Saturday morning I visited the buildings and streets were deserted. Occasional street cleaners tidy the last of rubbish away and all that was left was a ghost of the forgotten past quietly asking to be listening too. The steel frame draws the empty space of a ground floor office mid-way through its regeneration some spaces missing; it speaks of the material and space of the city.”


OLIvER bARRATT Welded steel, board and sand410 x 280 mm

9b

“Saturday afternoon and all the lights are on - Throgmorton Street”

Mike joined Aedas at the start of 2008 having previously run his own practice, atomikarchitecture, and having been an Associate at both Foster and Partners and Ushida Findlay Architects.

Mike is registered with the Royal Institute of British Architects and is also a current member of the Hackney Design Review Panel. He has exhibited his own work at the Royal Academy and The Hub - National Gallery for Craft and Design in Sleaford.

“Throgmorton Street; named in honour of former resident Sir Nicholas Throckmorton, Chief Banker of England in the reign of Queen Elizabeth. The view looking East encapsulates the mutating DNA of the City from the historic street plan, to the location of the Drapers’ Company who have occupied the North-side since 1541 and the juxtaposition of all architectural styles and scales. The scaffolding across the street reminds us of constant change.”Guide Price £250 - £350

mIkE OADES

Pencil and pencil crayon on watercolour paper420 x 297 mm

9C “Ivan and Rey playing on the river bed”

Pierre d’Avoine is an architect and teacher based in London. He practices on a wide front although he is probably best known for designing houses. In 2005 Clare Melhuish and Pierre published Housey Housey - a Pattern Book of Ideal Homes . The book has been influential in the UK and Europe and led to Pierre’s appointment as guest professor at the Royal Danish Academy of Fine Arts, Copenhagen. Pierre d’Avoine Architects has been working with Article 25 on Luis Cabral Creche in Maputo, Mozambique.

“Our site, on a mild afternoon on Sunday 9 October, was dominated by traffic moving at speed. We walked towards the river, less drawn to the view than the need to escape the traffic. At the end is a pub called The Banker and we descended steps to the river. At low tide the river bed is a mixture of pebbles, old timber, clay tiles and hundreds of bone fragments. Below the level of the street, within the dank, green tidal zone something of the character of an older London re-establishes itself.”Guide Price £200 - £300

PIERRE D’AvOINEInk on cartridge paper410 x 297 mm

9D “The Transience of Man on Earth”

“Townshend Landscape Architects have drawn inspiration from the transient nature of this hard, dark and noisy place. People move in and out of it quickly, the trees shed their annual foliage; buildings are constructed and reconstructed over the decades whilst some loved landmarks and lanes survive for centuries. Guide Price £175 - £300

RObERT TOWNSHEND Collage on foam board841 x 594 mm

This piece is our interpretation of the laying down of the rich ground layers of history which have informed the development of our City grid square. The story begins with the settlement of the Thames-soaked marshes, how people built and used the man-made structures and celebrated spaces over time to the individual who passes through it today. It is also representational of man’s transience on Earth and how we can inform it.”

9E “Something in the City...”

“I grew up being told that I could draw…so being anywhere without something to draw with…just never happens… no piece of paper is safe near me! My drawings have been published and raised funds for causes in the past.”

“Beside this wall is where city workers linger daily to chat and stub out their cigarettes whilst the surface patina of this wall imperceptibly evolves. Decade after decade. A mysterious rusting cabinet survives with its crumbling surround. It is the backdrop to an everyday side of the life of the City which complements that played out behind the sleek walls of granite and glass and metal but whose surface will forever remain the same, ageless, silent and, for me un-drawn.”Guide Price £500 - £700

jOHN bURRELL Caran D’Arche soft crayon on white cartridge paper500 x 250 mm

9F “Monuments”

Ben became a fully qualified registered architect in 1997 and has worked in architecture and design for over 20 years. Ben and Silka Gebhardt founded Neu Architects in 2004, which has gone from strength to strength, and now includes the Worshipful Company of Goldsmiths as one of their esteemed clients. 1999 - Shortlisted for TVN television studios, Santiago de Chile, 2001 - Royal Australian Institute of Architects Architecture Award, Sydney, 2009 - Winner Pennine Lancashire Squared Competition.

“I was struck by the volume of people and their constant movement, giving life to a space of limited aesthetic qualities. The workers were countered by directionless tourists looking for the Monument, a significant feature and historic landmark. I thought about representing it, but it’s significance is to remember workers and residents of the City, people who lost their lives in the great fire. So I decided to take pictures each day for two weeks of the people who make the space vibrant.”Guide Price (2 set of 2) £400 - £500

bEN PAUL Photographic laser prints on 300gsm semi gloss paper410 x 297 mm

9G

“The Monument”

Ian is a founding director of BFLS and director of Strata SE1, the world’s first residential structure with fully integrated wind turbines. He is responsible for a varied portfolio of mixed use projects throughout the UK and mainland Europe.

Ian studied at the Mackintosh School of Architecture, joining Foster + Partners in 1995. As Project Director, he was instrumental in the design of London’s Swiss Re Headquarters and the Bexley Business Academy.


IAN bOGLE

Sketch in felt tip190 x 250 mm

9H “Layered London”

The first private client for the Director of a new architectural practice was the artist Jane Simpson, Paul was involved in working drawings for the solo exhibitions ‘A Three Way Conversation with Myself’ at the New Art Centre, Roche Court, Wiltshire (2005) and ‘Tableau’ at CAC Malaga (2004.) Over recent years individual pieces have also been created as part of Independent Architects Ltd exhibitions: ‘Lamella’ Dar Al-Fanoon Gallery (Kuwait 2009), ’Syncretic’ La Fontaine Gallery (Bahrain 2008), ‘Residue’ Nous Gallery (London 2008).

“Distinct architectural periods and styles are layered together by a modern office building’s glazed opacity, reflecting the uniqueness of the City.”


PAUL bRADY Acrylic on board297 x 210 mm

9I

“St. Mary’s At Hill 5 November 2011”

“Life in the City of London sometimes feels tolerated. The blocks with fortress like fronts and fluorescent backs are simply doing their job; an evil backdrop for office workers and dreary trudge space for puzzled tourists. This view from the steps of St. Margarets Patterns Church offers an escape to the Thames with the unfinished Shard as a new beacon but the grand old gold clock on the church first built in 1177 stops the eye and makes one think.”


CANY ASH

Digital print,160 x 400 mm

Cany Ash studied at Cambridge and the University of Westminster, going into practice with Robert Sakula in 1994. Ash Sakula’s ongoing projects include Deptford Station yard and market, a new canalside quarter on the banks of the Ouseburn in Newcastle, and planning St. Botolphs cultural quarter in Colchester. The practice champions new ideas through adaptable neighbourhoods campaigns currently working with people to rebuild Leicester’s Waterside and to build the Canning Town Caravanserai for space for micro enterprise during the Olympics.

9j “Minster Court”

“I am a practicing architect with a reputation for drawings and watercolours. However this site demanded a more painterly approach.”

“Like much of the City, at street level this is a pretty ordinary townscape. However if you look up the angular profile of the post modern gothic that is Minster Court becomes spooky and disturbing. A Transylvanian landscape of peaks and dark valleys.”


mIkE STIFF Acrylic on board

10A “Two Wren Churches”

Norman Ackroyd studied at Leeds College of Art (1956 – 1961), and the Royal College of Art, London from 1961 to 1964. Ackroyd has had many solo exhibitions, both in Britain and internationally. Solo shows abroad include the National Museum of Art, Santiago, Chile; Jan Turner, Los Angeles; Dolan/Maxwell Gallery, Philadelphia and the Mickleson Gallery, Washington DC. Ackroyd has also received several public mural commissions, produced in etched stainless steel or bronze. Recent commissions include Lloyds Guide Price £900 - £1500

NORmAN ACkROYD Ink and wash on handmade cotton paper410 x 210 mm

Bank, London; British Airways, Birmingham Airport; Freshfields, London; Tetrapack, Stockley Park, Heathrow; a bronze mural for the Main Hall of the British Embassy, Moscow; and Lazards Bank, Stratton Street, London W1.

Norman Ackroyd was elected a Royal Academician in 1991 and was made Senior Fellow, Royal College of Art in 2000. Ackroyd lives and works in London.

10b & 10C “Sssch! It’s just going up”

“When I looked at the City - the skyline was chaos. When I looked at the Thames there was detritus. I looked south, and oh! Through the elliptical window, with seat taken by a safety buoy there was the..........END (with the).”


IAN RITCHIE Ink on Somerset paper210 × 297 mm

Ian Ritchie uses the interplay between words and images to distil into poems and aphorisms varied influences from technology, social concerns, history and context.

In 2000 he was awarded a CBE, and became the sole foreign architect to receive the French Academie d’Architecture Grand Silver Medal for Innovation joining a small illustrious group including Jean Prouvé, Felix Candela, Frei Otto, Buckminster Fuller and Peter Rice.

10D

“The layers of the city”

London has held a lifetime’s fascination for Graham, living here all his professional life.Allies and Morrison the practice that he began with Bob Allies in 1984, has been associated with an number of London’s major new plans. These include the London 2012 masterplan, Kings Cross Central, BBC White City and the new Bankside district in Southwark. Graham divides his time between London and Venice – two very different cities that share an informal compositional structure.

“This is the view from the south bank – a view from within the 100 squares of 10x10 - but encompassing them all. The City’s familiar silhouette is dominated by the railway infrastructure. The viaducts that bisect south London culminate in bridges that become the view. There are five layers – the sky, the silvery outline of the city’s familiar buildings, the tracery of the signal gantries and the bridge, the heroically scaled columns and the passive surface of the river they command.”


GRAHAm mORRISON

Layers of card280 x 440 mm

10E “City of London Skyline”

David Partridge joined Argent Group PLC in 1990 and was appointed Joint Chief Executive in September 2006. He is a member of the RIBA and a fellow of the Royal Society of British Sculptors. After a degree in architecture at Cambridge, he became a founding partner of Gebler Tooth Partridge Architects based in Chiswick. He is a Non-Executive Director of the Manchester Airports Group, a director of Cityco, the Manchester City Centre Management Company and ex-Chairman of the Piccadilly Partnership.

“It is not often possible to stand back and see the City of London skyline from such a close-up view as this. History is captured in silhouette – from the Monument (to the Great Fire) through the Nat West Tower, the Gherkin and (its most recent edition) the Heron Tower. These iconic images rise casually above the more normative “bread and butter” buildings, representing the relentless commercial drive of the City and its ability to re-invent itself.”


DAvID PARTRIDGE Single reproduction from ink on paper vel-lum, printed on fine art paper420 x 297 mm

10F “London Bridge is Falling Down”

Maxwell Hutchinson is an award-winning architect and broadcaster. He was the President of the RIBA from 1989 to 1991 and came up with the idea of Article 25.

“The inspiration for ‘London Bridge is Falling Down’ was that the access onto the old London Bridge was under the tower of the church of St. Magnas the Martyr when the River Thames was considerably wider than it is now.”


mAXWELL HUTCHINSON Blue ink on paper420 mm x 210 mm

10G “Lines and Edges”

“The dominating buildings flanking the chosen site framed the southerly view towards the river. To my surprise, the work-in-progress of the Shard was perfectly pictured at the end of this long space. The surrounding facades, columns, paving and even people and plants heightened the sense of claustrophobia. While details blur and colours blended, the lines and edges of the surroundings very quickly Guide Price £700 - £1000

Cj LIm Pencil and photocopy images on watercolour paper410 x 205 mm

redefined my spatial experience. Each frame of my experience was carefully re-traced onto 116gsm watercolour paper, and the negative spaces painstakingly cut using 10A blades revealing the observed edges. Follow the pencilled instructions on the flip-book to experience the spatial emotions of yet another unpredictable day in London.”

10H “Moment, surprise, interlude”

Richard Portchmouth became a founding member of the award winning practice Birds Portchmouth Russum Architects (BPR) in 1989 having previously worked on many internationally renowned projects. Since forming BPR, Richard has been responsible for a series of significant infrastructure, masterplanning, residential, educational and cultural projects. These include the Avenue de Chartres Car Park in Chichester and Peabody Docklands Housing proposal. Guide Price £350 - £500

RICHARD PORTCHmOUTH Sketch and print on card420 × 297 mm

10I

“Facade of 60 Mark Lane”

With a continuing commitment to architecture’s social dimension, as well as its capacity for artistic and cultural expression, Stephen Taylor Architects recognises the collective process by which buildings and cities are made as part of an ongoing process of an economic, social and cultural continuum. Amongst their interests lies a strong concern for the emotional affect that architecture can have through physical and pictorial presence, material association and constructional directness.

“60 Mark Lane is a five storey office building considered to be one of the earliest speculative buildings of its type. Its load bearing stone facade present a tiered composition of arches and pilasters, each floor a variation on the last.

Observing the craftsmanship of this building I am reminded of how the 19th century developers of such buildings saw value in artistic and cultural endeavours, unlike so much office building of today.”


STEPHEN TAYLOR

Pencil drawing on cartridge paper420 x 297 mm

10j “Old Souls + New Sins”

Architect interested in the juxtaposition of the new and the old in historic cities.

“This view references the question of which building is the future context.”


bILL HANWAY Watercolour on birch veneer plywood255 x 255 mm

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10 x 10 LONDON Drawing the City - Auction Catalogue

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