Robin Evans-From Drawings to Buildings

8/3/2019 Robin Evans-From Drawings to Buildings

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~~ .DQCU1vIENTS 2

R o . b . I t n E . v a ~ . I .n S ~. - I _

T }-t rans a- lions rromDrawing to Buildingand Other Essays

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To translate is to convey It is to move something w i thout alte ringit, ' This is i t s : original m,ean:~ng and th is is w lm1 happens ln trans-Iatorv motien, Such [00.;. Ly an~ogy with transl atory motion, the~nnslation of languages , Yet th e su bstratum across whicb the senseof words is translated rom Jangu,~gt eo l anguage does not appearto have th e requisite evenness and continuity; (hhllgs C~Jl get ' rent ,b ro k en or lost Oi l th e w ; t I J y . ' T h e assumption that there it s a U]1IifOontI. s p l' c e d'1lIIO U , g h whicl meaning 111a;y glide without m o du la tio n i s,m ore than just a narve delus i OIl, however. On J ~ by assuming itspure and uneonditional , ex ls te n ce i n H ], e first place can any prec isek lH ) l \ i I , . ' l e d g , ~ of the p a t t e r n o f d eviations f r o m Ith,ls.imaginary con-dition be gained,

I WOl,..1 ld li ke to suggest tEl at i51ome~hin.g similar occ~rs in arehi-tecture b tween th e drawing and the bu~kr ig , an d ~h:ata s : i H ' J J H , : ; u 'S : I L I I , 5 ~ : J e J ] . s ] o nf c ri t i c al disbe Iie f r u g . necessa ry in o r de r to enable a r-chitects to perform their task at all .Iwould like to suggest also thae,"vi ., e suet an e n ab li n g f ic t~ o n [nalY he ma de e xp li ci t, this ha s no tbeen done in arch itecuue, an d that because of this inexplicitness illurious situation has come La pass in which, while on th e one hand1J1ledrawing might ' be v as tly o ve rv al ued, on the other the p r a p e r J i e so f drawing ,_ ,iu peculiar p O \ ' \1 ' e ' I 's i n relation to ]ts plltati,\ltsubjcct!the build ing - are h , a : m ' d l y recognized a - aJlL Recognition of thed raw in g s power as a med ium turns ou t, UI. ' . iJepeeted}y; [0 be re-


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t ' l I , [ 1 J J economy between t hem, r u n of frict ion though the deals 'backand Iorth rn!l~thave been, _ha v e. f ound their ' work invaluable and~drn~.da'~~ng.t seems to . me, however, that t hi s e c on omy dominatedby the trade between two PO\NeIS cannot be transferred N ). rh e s tudy0" archi tecture wit 1lout adaption, for the architectural ( l rawingconstin ne s a thi rd , force that m,ay' w eB equal those of the a tw orkan d i '~ s c ; o n 1 J n n ; C I taries,

=:, y own suspicion of the e[1iOnnOU5, generative part played by 'architectural drawing stern from a brief period of teaching in anrut t'Onegc,61~titllg,-n,gwith me th e conviction [that archuecture andthe visu al arts were closely allied, I was &0on struck by what seemedat th e tim e rhe peculiar disadvantage u nd er w h ich , architectslabour, m ~ever working directly with the object of their thought,at:lwaysworking at it through some intervenins medium almostaho1~r,ayshe drawing, whi le painters a n d s cu lp t or s , who m [g ht sp e ndsome time on preliminary sketches and ma'queUes" al ended upwor.king on th e thing itself v. d ich, naturaUy" abso rbed mos of the]Jattention and effort, I sti ll cannot understa nd, in retrospect, whythe implications of th is simple observat ion had never been brough thome e o me before. The sketch and. maquette are'much closer topainting and sculpture than a d!t.'aw~.ngs to a bu. i ld~og; and thep~roc-essof development _ the formulation _,is rarely bfflught to aconclusion wi th in these P(I:"d~,It i l1ID~rys tu d i es , .. .e a rl y always the1111Q 1St intense act ivi ty i s t he DOllS; ruction and manipulation of thefiaal artefact, the [purpose Q f preliminary studies being to g i \ r , e ; s u r , ; "f ic i er u d e : fi n ]t ion f e ) [ " ' final w o rk to b eg in , no t tn p.l 'QVide , ! \ t , completedetermin ation in advance, as in architectural dritwing. The' result-' inr~:dispb'llc.em,ent of eflort and indirectness of access s , t i l l seem tome to be dlisti[!L,gu:i$bin~features ' of , .on ve itional architecture con-s idered I J ! S a visual art, 'bfIlUwhether a : ~ w a . J y s and n ec es sa r il y d i s-advantageous is another question,

1 ' \ \ " ' 0 divergent definuions of th e possibili t ies for arhJt, ecture fol-l'(JW from th e recognition of this displacemen . W e m ay choosr to

join arehitec ture to th e o th e r v is u al , arts more ! l e . C U H ~ : l Y . by . ~ns\isting'that only that which the a rch it e ct man i pu la t es with hi s ow n handsis his work. J~is,all too clear that this: new intimacy would firstrequire ZI l d i v or c e b e ca u se , as w e ,gained mo re direct, a cc es s to th ew o r . l r . / J w e wou l d be relinq uishing claim [0 th e a rch itectu r ' thaA:now f l(1) .r r i sh" ': '8within d e political, economic and. social order. Ifarchitecture wert F defmed in this 'way, it Hug'h , t become morescrupulous and less responslble, smaller and less predictable, w().rrrhl es s b u t better; as the h op e w o u[ ,d be, would it not , that in giving upg- a nd lo se p r ete n si on s to represen and define til e social wor ld inboth its imag inae ive a n d a ( :: t -\ iI t'aspects ( a p r :o j e ct the un]i ; td iho.od, o : f which is comparable to the ! .In]]ken~ood.of c om p ili ng a ]e,g--il[code that is abo a good novel - an am bition hat ':an only beconfounded in p rac ti c e) a r ch it e ct u r e nla~ by contraction and con-centrat ion, constitute i t sc : : : l f ,anew? "f~U,h i s conso li dat ion through' w . i t h d r . i \ . \ Y ' a , , [ is a l r e a d y u nd er w ay .,.and - ' t 1 1 e ' problem is th a t it hasb ec om e e xa ct ly th is : a " consolidation, a restoration; a . sim ple r elo -a r i o n of i :t l" r 'e :HmJen t. within th e region : S l t , a k . e d iout ]ong a g o , r l t s' be longing' [0architecture."Vhat migh t have occu rred . in , : i H c h it cc tu r e, b u t did not, OOIl ;; urredid e i d i d d id " d scul ,', ,~utsi e rt , anc In ee , Q r o , ,tSl .e paIn.nog an:' sen pture , in so tar as

these are categorically defined.' T o i ns is t on d irect access to thewo rk may on:~ybe to designate the drawing as the real repositnry 'O farchitectu ral art, It , I n a y also be tO I , I : e . je c t drawing O U ~ of hand,or the wo r k s beyond the pale of architecture _, earth art, per-formance, i[ls;ta~](3;'tions,,-onstructions _, which nevertheless dealw:! ' threcognizably architectural them..s , s ev er al a re remarkable notju s rrfor the fact that they make hul t or no . us e of drawing, , ut foll'the i tnpc!t.i lfl.' l i~of thei r development th mug ,h . this medium,The l . ; ; . r o r l of th e L o s . Angeles a r t i s t James Tuncl1 may be used

as an instance," The m ai . l : s ; t a y of Turrell 's work lbrou,gh th e hate1960 . . an d 1970s w as the a rti fi ci all y li t r o o m { I 4 ' g r ' 2} .MQ : S' ~a r h i,~te. lura] of th e se w e re a ..eries of ell1pty 'spaces wl ich, if drawn up

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~- :11JiJ~t~l l I~kili13 , : : I ! t G.!I :.I~''stl"j'et P ' f < o ~ e I [{ i @ 6 : . Q . ! ~ 1 f " r . i g l H : : A f . m C t } ! ,~n ~~i !C~1Jr , 'b:rjr?lt rn~!'lb l l i 'Del~"] 984,

within current architectural conventions, could only construed asindicarive 0(' witless s implici 1 ; y " Their effect as .ins:~a1!]a;:~ion;3.cannone t h e l e s s be ' completely 0 v e ~ 1 . ; V ' h " e - . l m i n g - S u c h ~]Iie!cdy a J , P P f ! e =h eu si ble q ua li li es as tll,ey possess have nothing to d o with thep re sen ce of the artist's hSJ,nds;; feel ings Or personality Fabricatedas they are wh~l tremendous precis ion and pa r s imony there isno ]lJ10~!etrace of T ur re ll in these r o oms than Gf' Mies in th e mostsparse o f M i es ia n interiors, .~ ' \I 'G)k;~]"~gg lu ih es o f tr aa sce nd en ra l n 1.Y S:-t : ~ f l ( ' : : C l J : t i o Hr o m SOI,De c r i t i c s , " Turrell 's wo rk is , all the aame, q u i ~ eeasy to understand a nd . a p p re c i at e since it has to do wi th obse rve r snot b ei ng ' a bl e 00 believe their own eyes , You look into somethingw,]) ich yo ~J know 'is an o ther : rectal lJgU[8!l" room 'with batteries of.~~ ' I! J~)Je . '5 ! fJe ] '[ tbes on the back ,of the particion through which yo upel!: r .You CaI,:Jj see l r ] o w it works, ' o~ ,can PlJLt your hands into it, 'You(:~"IJ.U even s ee , s ta nd i ng ' 'Out against U]C haze of ~ U u m i n a J t i o r n t h 2 I J : ~moves Irom nJ~.~V"Cd~~ro~lgho pillk. j evidence of some earlierinves i1_g.at.o:rW~,l(] took it into his head to climb into ~}u.~U~USiOI.lIJ,

I ~i~r;l ea v. in .g h is f oo tp r in ts i n th e o th er w is e s po tle ss , s pa ce le as i nte ri or ,E ve n th en , ol.rn~yby (~(~ducti .o] '1I .an 'Y ou m a in tain e ither the d epd 1J

of the: room Or th e e m pti ne ss o f :1, for th e l~gh:~looks, if no t . s o H t ~ Jthen incredibly dense ..as if it s h ..uniaosity 'WO-tJ]d. no t so . ,much revealth e k~ta ,ge of al' ilytb~n,g th rust into it as devour it Take a few steps'back and jlt is i m po ss ib le t o envisage iL 3 dleptlJl: even bY' an 2 I ! . C t ofCOi!Jls.:dOU$ wi l~ j a few more and (b e screen -l ike aperture Lhro'!l ]ghwhich 'Y(l'U, looked seems to be ' standing OtJ:~as a block of ] ig .h t ~ublatant contravention ( ! i f wh (lJ ,t y ou k n ow to be' t rue." The roostremarkable properties of Tur re l l ' s insb~]a'Eions are . local and no ttransportable, The resul t of direct observation of the p.lay o f e le c-t r ic light 'On 'whi t e -pa in ted surfaces and countless e:xper]rne . !1t~ . i j "J i w . ~ they cannot be adequately ~nuEtra;~edor ph(J[ogmpbfJd ,afterthei r eonstruction, a t ~ ' l I , r l '~he]\e]S no ' w a r Y ' ,ttha~, v e n "[he vagues t hint oftheir (;fI5c~ co uld h av e o ] ' i g .i . V } . a 1 r e d d U ) O i ' U b ' - ' hdra'W~l1g-. In I hi s, r es p ec trlllrr-e:,~i;jsilluminated sp,aces 'O f th e n 97~l~nd [9805 - On~alRnfmllf],th e J . 1 . 0 d g \ f ~ r k series, e tc , . ~Were further removed f rom. dr~wi"g andthe d raw able than the earlier wo r k s illwh i ch shapes of Hgh~we r eprojected onto walls tbrOVll ,gh cut templates, Turrell made and pub-lished (m,d sold~preliminary d r aw ing s for some of these, One cam-110lt i nu l. rg i.nesuch draw ings making an y s ens e ' : ~nthe la te r w o rk s. Bycontinuing in ( h,e s am e m ed iu m while dim:ln~t~.n,g the projector ;T u r r e l l 'Wd:S e:Wecti\te[y t a L k i . l l . g his wo rk outside the range o f thedrawing} for it was their projected .sihlape dla.t made w orks likeAfotm d raw a ble ( Fi g, . 3 ) ,The d r aw~og has intrinsic , [ i 1 ' D itatlons of r efe re nce , N ot a ll things

architectural (a1il.'d Turrel l ' s ],O'OIns,ar e surely architectural] tan bear rive d at tbr oug h ( i l l r : ! l J w i , n g , There m ust also be a p e uurnb ra o fqualities th at might only be seen darkly and with g rea t d i f f i C ' i [ j ! : ~ , t yth rough [ L m f j t l .dgem'ent is that these q u a l i t i e s , in an d around th es h : t l l d o l V i , i l ine a re m o re i nt er es ti ng t h a n those laid forth clearly ind :r ;a Lw in g; t he n s uch d :r a w in g s ho ul d ibC ' abandoned, an d an othe r 1 5 . 9way' of workin.g instituted.

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Returning rnomentarily io th e recently vaunted s ta tu s o f archi-h')c:[ru;uraJ drawing with in, the schools: to regard a t, drawing as a work.of ru t as 'W(~usually understand it is to r ega rd :i~as s om e th in g t obe consumed. by the viewer, so that his,rapacious appetiee fo], for-mularcd experience , Inay.b e a ss u ag e d . Any nlrtheJ" use attr iburableto it isincidental and detrimental in so far as it:may reduce its valuea s .r oo d [ or c on sc io us ne ss. \ -V e h av e w i tn es se d , o ve r ,the past fifteenyears , wha t w e ' r h ink of as a r e d is co v e I~yf th e architectural draw-:in,g"Th i s r e d is cove ry has, m ad e d ra w i,n gs 'more consumable, bU1Ithis c on su m abi li ty h as m os t o fte n b ee n a ch ie ve d by t'0defiDi]l,g theirrepresentational ro~eas similar to. that of early twentieth -centurypaintings, 1 ' 1 : 1 lbe sense of be~n;gless concerned 'W~d1their relation toW'h~t t h ey ' r e p :r e '; s en t than wi th '~[1JdFown constirution. And so thedr,:tlW ll1l._gPhemse lves have become the repositories of ,effects andth e Iocus lo r a tt en ti on , w h ile the tfa:nt;rn'[!l a t i on t ha t occurs between.drawi.ng and building :re~J1I,2L]nS to a large extent an enigma,The ~~'f:""'I'~,;II~)[;,p~;~"":i]i!~~.fll~W " P ' di r ee . n ~ c - fro :rti'i; l _I j - '~~1',;:;If ' ' ' ' ' i i :1 ! ' ' ' Wr:;,~_ , ; - ; , f al -~~"" ""'-"./V __-_ )"_'~JI_..!~ ~'~y~O' __ ... ~~ ' J .. . 'J . .. t l! iy ~ _ ,_~J _ "_ = 'U~~e__; ) i . ' f v~ __

l eI -l ug t h e d e finit ion 'O f architecture is , to ]]]Si3t on the architect'sdirect irwolvcment, either taUing t he , d r~ rw i n, g"art' or pushing itaside ~~JJ Ka1lJ{HJJ'f u nm e d ia re d co ns tru ctio n, 'lin e other w ould be touse the transitive, commutative properties of the drawing '~ObettereffecL This latter o ptio n - V i , d r l i,ell I call th e unpopular option ~ 1wish to d ~5CUSSi, in this article.The l 'wu op ti o n s) ou e en lp ba si z~ :t 1, g. the corporeal properties ofthings made, the other concemrating on the disembodied pr().p~erties E ll the draw]ng'~are d](]Jne'ttricaily 0 P i P osed: in the one comer;:unvo.~. 've,nnen~substan t:~al:ity; t~.ng1b:mty~,resence, im m ed iacj; d ]r eC laction; 1 1 1 th e other, disengagement, obliq ueness abstraction, medi-ar ion an d at ~10:H a\'~ , 8 . . distance, T hey ar t opposed but m O L neces-s a r il y i n compa t ib le , 1 : t Inay be that, just as som e fifttetDth-oeo'[uryp ai nt e rs Q v . l[ H ls a oc iQ " Pie ro , M2IJ:~leg~,] ,


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,I " ']Iit I '_iI' o n j i b r t : o l i r . : & by:.,~'idAll II, Ij' 7 : - 1 1 ,

instrumentality found in pra i "t~ceare p e r i le , ob s tr uc ti v e and dull;w~l:kh o n '[ he w h ole ~hey are, a s a ls o are ,the artistic pretensions ofth e. s ch oo ls . A contest be tween tw o k ind s o f dullness cannot b e r ex -p ected ' 0 c ome '~Omu ch , e ve n, if it d o es e ns ur e f ai rn es s,

, ,A, d is ti nc ri on , m ig ht be mad e Jb.e'[oween th e object of draw ing as~1'rJ!c~ised in architecture and dnnvin,g as , practised traditionally in,V V e s . t c F l l art. A sto ry o f the :o ,r i g ff i o f d r , a w ' l l m _ _ g ~ derived from PUnythe Elder!:I and recycled into the visual arts 2 I ! S s:uhjo::~-maner in thee igb teenth century (like all stories o f o r ig i ns , far mor e revealing ofthe. t ime of i t s te ll ing than of the time o f w h ich it td~S)lS[~OW5hi sup' nicely. The story is of D i'~outades tracing the shadow of herdeparting lover; If we compare versions by two- ueo-dassical artists,o ne ex elu siv ely a painter, tb e other benet known a s a n a rc hi te ct ,some .h1~jcadve d]ffel"en(:c5, become apparent,David Allan's T h e O r ig jn dP a i n t i n g , o f l 7 7,3 ( Fig . 4 ) s ho w s th e COli-

ple in an interior; th e d re ss ed s to ne wall of w h ich p ro vid es a planesurface 'U p on w h i ch D i bo u ta de s t races , the. shadow mad e by au oi llamp, placed at the sa m e le ve l as th e sitter's head, On. a ledge doseat hand. .K~rrlR Schinkel 's unusual variation on this theme waspainted : m t ' l 1830 (Fig~5). 8 i g n : u f . k a n , t J y , - and in,..out 'ast to.most othertrea ments (as well as . departing from PI 'i ny) ~ th e architect chose,not an architectural interior fOl" hi s reconstruction of the event , buta p as ro ra l s ce ne with shepherds a n d s h ep h e rd e ss es , ~l In place ofth e w or ke d su rfac e o f sto ne , ..a m atu raJ.[y expos: d face o f I '1Qck,I nplace of I~hclam p, th e' ~ighitof the sun. BOrth pa 'mn t i ngs ] t ru to 'theoriginal gtoryj show drawing as :!l function of projection, and bothshow qu]tre clear ly the con) binat ion of demen ts required: a sourceof ]~ght, a S iI J _~ect 'Upon which it plays, a surface behind In srubject,and some th ing W trace with, S ch in ke l, h o w ev er , shows the m in i-mum of material artifice need ed to accomplis ,1 l th i s, TO ,8 1 c l g , e bonlh i s . painting, the first hum an m ark put on nature might \ ' iJ i _Il have

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the sp ecitic e xp re ssi on o f these tendencies in Schinkel betrays 4 ~ ,

I s, De-t in G~oo,~m~Gi' iJ"~~A~i~IUll' (M~ I : f. I If ~~953)~ 'PF"82 ' ,4 " Close hupt~(~rI I'e'~~l~s om e m in or , i n ! C o m ' l ! . ~ i : 5 ( o C n ( ; ~ C ' Sn p ro j t.o t iO l ilj f o : t ' " 'f!Xi~u~ple,he ~~.(j~tsQ f th e ;CO!rTI .,erb ~ , ~ t i o n s t h a t ~X~ d~r;!lJH!'llcl ' w i l h , ~l~afoes.of ( ' ~ ; ; t t ' ki ' t i 8 i m h l ~ e , ~ I i 1 I~ : ! I i Y!l!I'il'!',sho'WJliw i t h t f u J e' i . rcuJr iil llstr ips ,of B I l I . : r l lY n : : g ~ 5 0 1 C r h ] l g the same wid t h llf~fror.1'~aland o h ] i q l l l e p ls ne s, Ina f e " r l of the h)wcr p a n e l s , h~'e'lfeli, ' u ] l I e P I "O } ' u : 1 1 I " t i O : I J l : i l i 1 reduction 0 1 1 1 th e ' Q i b H ~ l i l l I e~!H~~t'~ W.~~,:howu i f , ;Ql"Dc~~tly..

1 1 ' . h is il l it~rcsti. l1g that h f : ' Slory of the Q m ' l g ; u : l i ofGree~, :gecm]~.try, also tncluded inP~in,!!;s VCil') ' ! 1 a r n l ~ ~ ~ r o t llmt of the {).r~dn r dr-.iwim~!~t ,t~H~Q(~ t n . . ' 1 l l e : s . fUJ l r u . o J~ ,d l l . e .h d g i ~ ~ o r an E g y p t ; a . n lrfr~~mi ' b ' , 1 iI l" e ; l, u H . ir . ln g h e I~HKth,r its t ) h : i l l QQ I I , ' , ; 'on th egmulnd anN C O n ' ' 1 I I . !1 a r i n g ' : i lt to ' th r: : sh ad ow m a de a t t he : 5U rlle rune of cia'V ib y asmaller v e F i t ; ! : : ~ 1 'O f known he~ht To r e c o g n i z e , t il l , ! ; 'form~] e q ' l l r . . ra 1 e I " . i C o e be tweeifl~~U!fit': 1i;,;,UI~ h ! I ' - ~ r.:cqtJ!ir-e~~115NI serve points ofitlt; : i m a g j i l l ! ! j iJ rY l in es , t o 00 conceiveda s J D ; n . i' iI ~ ' i : t i ( : t..q),~of d~v t i l 1 L k a i i s . ' L ' t , ~ ~ hhe ,ends ' ! ) f their sttiadbm 0 - 1 " 1 1 l l . e ground,l~ms : i nn ! l l g l l l : I ' L l ' i , t l g ' < i I _ g,t:01n.U),' ,o f , ab s tr ac t l in " e S; .Th e impercip"ence' in ' ! . h e S J l o r r ~,dai i j j i l: I~~ ' l lm!l : I'lhi, ,bstrnct !hl ~WM diS 6 . . Ra,c,iIl a{+~ ion-t e s t s the ! i ! : t J t r i n l t u t i m ) , ;hO'W't!f\ re:t, ' \ l V h i t r : ~Ufrt4'l~ P '" 112} u' l[' (pU i t a s: p,l! "t1b a b L e 'Wtl i~t:' : J : ' r ; a c h i 1 t e n b e r g argue'S :5 LTQngJ.y' that it is G,i.oHo'IS scheme aod m~~y ( l ' lr 'e I1 l,he hjsdr1\Lw:in~M . T r a. G b~ en h ~ ~ Tltt Qm~ i l e . r{ ,FIj1ilU~fAfiliiiral: Oii7tw!f 1i~T (Nc'wYorkj 191' l . J~ pp , : 2 . t ~4;8:),

~il Aroordi~lI!g to ~nofs.ky, thiis wa s di e case M.Lhn o t o:nly l~,gypturtm relt~fsb1J~alsogClli~tLlires i r i i t t ) . e t'QiI;llfUJ. See E I ' V i i 'm l i i PatJml'),~kf~"The Hi s ! ; i ) : r y of Lh~ 'l 'heol1' orH rum an , Pr op o ft i. on s: a s a. RI;fl r ; t i o l l l of the [ w t O f ' Y ( l o r S lY~ s ' , ill M e a . t i l m g i t t . JJ~f ; " r m a l " Arl~'I'(New Yor l . :, 1~55 : )~p . p . 60 -62 ,

21. 1. jll AThert~, 1714 To m & r J k s . V ,A . : t , d d t : e . f . t u r ~ 1[b'ar~lau~dby Leoni, edited by R y k o w e . r t( L O f .L d O : J . ti , ~9 6 5 ) , L o o k .Y . c h a p t e r i;

22' . E. H , Gmn br .i :bl Ati lind J t b . s i t J n : { L on do n? 1 '9 72 ) PaJ!f 'l i'~, cspedalJy 'The,A t- nbigui t ie s : o f ~ he Th i rd IDJrnensJon!; p ; p . . 20.:}-44,

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2 4 - . T I " . ! i E ~moat cernprehensive recent ~i,r~1iFkon. d e t O r l ! n i e k l A t ~ t h g . :' 1 if m ! J f . l J t " ' ~ PAih:~'mde . l J~ (London~ 195:B). l l il l JJ .nlnOl tl Jcd and . ; : :i l eo~pted the p:roj~~]ve'ft::~atign: inqut~tjoil'!l (p. 4 : 3 . ) ,

'2'5. D(~J ~Orm~ ,having noted th e p r o o j e c l i . o : l l I o - r t i J I , e H O O f into t~e dome, refe:rn:d dI e: i i ' t : : ! i l d ! c r ro a ~m:~~! \'. i_ ] , 'p . r o f l ' C i i ' s a ~ , w h i c h he ' pQ"ooet 'aed, Ito clI ! !11l101fi lSl:r 'a:~e , a : l I l d 'e l tpbLin,T hk s d id m v a l . v ~ p r 'o je ci tl m~ ~ ; ; ; I i p l a n e tlu_rfa.oe ifLtio a . sphe: rical B l U f 3 J , c e ( t J : t / i I " a "d~;;Ii.;pter i( i:~.pp. ~I! 2 ' ~ ] 3)1 ~mt t w as a m uch s : u m . p i l : r pattern [If coneentric :sq_Y'::l'r{;s,o n ~ , p,a ve me m w li lo oo , e f f e c l l 1 i : in th e o I . ' l o n ] } t : : o o l ,; ld q l !J l ~ J !i ea s i l y h viSllla~iiOl'r:~romm i h e ' p J a l i 1 l . a . l i t ! n ~ .

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I~ ' , Sch i~ tkc ls : 1l.'ljn~ti~!g is '~ntcllaJ'a'Cl!CfisLic: Vi.,;~~~juh~'gc~ 'u 'e , AlthOllg11 i ! ! . i~ i I . ' C i j , ~ p i 1 L ' - ' t : Ia . : O Ol l . ' l 1 ~ T f . ' I . t i n l g t h e D i O O I l. ii ta d i j0 8 sbtl(r 'y ' i in wbid i i . 1 '1ii ) " d e s c r l o e s ~.h~.:'J 1 i : : 1 . ' c l i f l i W rcdJi i~~~'Obrt a Wii!l~~~il~i!.t 00 m ; j : : ' k l l i ! ' a b s e n c e o r ~ t ~ 1 C h i ~cture i s, a s. f ia r [ kJlO'l .V; uniqee, f!xccptlor a n i(J:;uiy ' \ I O ' I I ' ~ i ? L t n hy JOlild~in'il von S ; a n c 1 J [ ' , ! 1 L J i I t ~ 1 6 7 , 5 " Schixllk'{ ': ! s e e m s I t o h a v ec o u l la tc d n ih .! ;;Pliny anecdote ( a , w om an a s ~b(;.i l ' w e . r b l O ! I ' ) wirth S a n d J r l . u r ' l t ' ~ shepherdL~,..,di~~he ~lmdu.wof ~i~ ! i l l , , : ~~p Qn ~ eh c ground. Set: J(F: S~ I.trdi~kJJ:!!l~~?~~~ ~}lc)\~~~} ( 1 ~ ~ ' ~ \ ' ' I 1 ! I " \~\'~l ~'O'JJ~~~ ~ : . M i , ' i I J 1 i ) J , p. ''1i~1~,d1I~ 'Rdbm,1~O:lCli lbhufl1,. i f j i ' Eu : : : Urit1u of [~jlJJ~hng"Art B f J U d i f i , D\~ c . i~ ~ 7 " pp , ~2'; '9-'90.

' ~ : 3 , T h is L ~ . " ft d oi { \ ' 1 , ' : [ : < ; pCili llt ' \~ m.lt l,pL e:th ab l o ne o f \ i \ ! . ~ b - b ' : ! i i gn::.att. t adm~rers:. Se er v v . . It..L~~h4,h~" Philip H c M b fUjd 'tic ~ - M t l k (Loim~~m I I '9 ' f9L pp . 1 1 7 -2 5 < , 1 ] ' he 'l 'e ' a r eI L 1 1 1 1 0 idr:~~L~'.,w wr:h 3, ' sound, h0 1 ' l I e . $ 1 ; . , . ' h l l l f r r t _ _ ; ; : ! . x l hl'uiEding. 0 1 : " brilliant drav....1gs , olc.xhib~bio(U~: i(: .~~gll~ ,

1 1 . A C I : i : S L ~ n e li o m ] h t l ! s , 'l~)e : made ' lb c ~ 'W ' et : t h o se portraits , o r , a i r ' E $~ ! j : in '\v\llIich t h e t o o li1't~I)j"'t:~mlt:d lh,e cecupaiion ~)abnd:l.fllsf.lI'i (:hi~1 or di"'l 'i]cn) and fu ;ge hli whichthe WOtfkil"clr . . " , , ' a . ' : i , 5ll't'O\VI!.l.

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~1 . ,1~h.lI'nl,lbOL~'.d ~ l ! i ~ ' i"I~~r;:i, liUii.i it im l ! l 1 1 ~ o i . ~ o f t~~f~Q,!I ]er~ngpa~te'i: 'fl!1 i~s departure L i f ' O n l i d~ eW,~,Ul.~,i l i , t ~ ~ h m J o r C{l(!l l lPalJil . f Il , l ' :nu~.i;ng ( j l . o i l l i i ! e ~~,l~un~:i n o s , (if l~~:iu.iJdcand bongit~!.(k' ,nm:~ lhf' if;.t~ti!.l!l, o~' n\ i i! l , ii labta c.b:',awulgs" ~"II: t deS\P I~H: ;hese p~:t:o;.pk~il:'; iQ'u:)~

Robin Evans-From Drawings to Buildings

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