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Drawing Futures

Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture OPEN ACCESS

Laura Allen
Luke Caspar Pearson
Copyright Date: 2016
Published by: UCL Press
Pages: 288
Stable URL: http://www.jstor.org/stable/j.ctt1ht4ws4
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  • Book Info
    Drawing Futures
    Book Description:

    Drawing Futuresbrings together international designers and artists for speculations in contemporary drawing for art and architecture. Despite numerous developments in technological manufacture and computational design that provide new grounds for designers, the act of drawing still plays a central role as a vehicle for speculation. There is a rich and long history of drawing tied to innovations in technology as well as to revolutions in our philosophical understanding of the world. In reflection of a society now underpinned by computational networks and interfaces allowing hitherto unprecedented views of the world, the changing status of the drawing and its representation as a political act demands a platform for reflection and innovation.Drawing Futureswill present a compendium of projects, writings and interviews that critically reassess the act of drawing and where its future may lie.Drawing Futuresfocuses on the discussion of how the field of drawing may expand synchronously alongside technological and computational developments. The book coincides with an international conference of the same name, taking place at The Bartlett School of Architecture, UCL, in November 2016. Bringing together practitioners from many creative fields, the book discusses how drawing is changing in relation to new technologies for the production and dissemination of ideas.

    eISBN: 978-1-911307-26-6
    Subjects: Architecture and Architectural History
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Table of Contents

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  1. A conference on drawing in a world in which architecture is almost entirely based on computation might seem something of a paradox. Less than 30 years ago, the appearance of new software, first in engineering companies and then in architectural practices, triggered a debate about the changing nature of architectural drawing and about how what was previously drawn was becoming standardised and normalised through a singular language, a common identity and, perhaps most controversially, a normative creativity. Today, all architects work with programmes such as AutoCAD, Autodesk and Catia, and their projects conform to recognised standards of digital modelling and...

  2. While planning the inauguralDrawing Futuresevent and this book, which accompanies it, we were both intrigued by how to define what drawing practice is today and how it remains a vital part of both art and architecture.

    In 2012, Yale School of Architecture held a symposium asking a rather morbid question: is drawing dead? At The Bartlett: no, most certainly it is not, and any attempt to kill it would surely only see it return as some form of zombie – imbued with new attributes and behaviours. So, alive or (un) dead, where might this drawing-creature be heading?

    In the...

  3. Augmentations (pp. 7-68)
    Madelon Vriesendorp, Matthew Austin, Gavin Perin, Sophia Banou, Damjan Jovanovic, Elizabeth Shotton, Thomas Balaban, Jennifer Thorogood, Peter Behrbohm, Grégory Chatonsky, ecoLogicStudio, Emmanouil Zaroukas, HipoTesis, Adam Marcus, Norell /Rodhe, Andrew Walker and David S. Goodsell

    Drawing has always had an implicit relationship to technology. While drawing is often framed as an instinctive and intuitive act, we should not forget that many of the principles we take for granted today were developed through technologies as much as through the hand. Alberti’s devices for perspectival drawing helped the artist manage the complexities of perspective and in turn assisted its proliferation as a representational mode. Piranesi’sCarceriwere distributed as one might buy a contemporary mass-produced art print, the etching plate and the printing press working in combination. We might also think of tools like the pantograph as...

  4. Pablo Bronstein, Jana Čulek, Penelope Haralambidou, Simon Herron, Adrianne Joergensen, Thi Phuong-Trâm Nguyen, Alessandro Ayuso, Jamie Barron, Jessie Brennan, Konrad Buhagiar, Guillaume Dreyfuss, Ephraim Joris, Benjamin Ferns, Parsa Khalili, Eric Mayer, Oğul Öztunç and Drawing Architecture Studio

    What is the history of drawing? Can a conclusive account be constructed or would we find too many outliers and perversions to detect one definitive trail? With such an amount of material and precedent to build upon, it is tempting to question what contemporary drawing can achieve on top of all the seminal projects and concepts developed on the page across history. Of course, we only need watch a Hollywood film set in the past to realise how fluid and mutable history can become. The drawing can become a site for deviating and challenging the historical, whether through imaginary flights...

  5. Future Fantasticals (pp. 139-204)
    Neil Spiller, Nat Chard, Massimo Mucci, Joseph Altshuler, Julia Sedlock, Anna Andronova, Kirsty Badenoch, Adam Bell, Kyle Branchesi, Matthew Butcher, Bryan Cantley, Pablo Gil Martínez, Ryota Matsumoto, Tom Ngo and Syd Mead

    Drawing has always been a tool to speculate on the future. It forms a surface for enacting the desires of society and proposing new ways in which architecture can facilitate them. From the seminal speculations of Archigram to Paul Rudolph’s hulking megastructures in pen and Hugh Ferriss’ crystalline ‘Metropolis of Tomorrow’, the twentieth century took drawing towards a multitude of possible futures. Most of these futures will never come to pass, but the potent power of speculative drawing continues on. If science fiction is always using the future to say something about the present, then speculative and fantastical drawings speak...

  6. Protocols (pp. 205-280)
    Hsinming Fung, Harshit Agrawal, Arnav Kapur, Ray Lucas, Ann Lui, Dominique Cheng, Bernadette Devilat, Owen Duross, Anna Hougaard, Ryan Luke Johns, Keith Krumwiede, Chee-Kit Lai, Carl Lostritto, Alison Moffett, Matthew Parker, Snezana Zlatkovic and Nicholas de Monchaux

    Our world is saturated with data. We speak of smart cities that might regulate themselves and metrics that give us information about every facet of our society. New tools for reading and recording space challenge the primacy of the line as arbiter of dimension and scale. Artificial intelligence systems can produce artworks through deep learning via smartphone applications. Our world is striated by new infrastructures such as the internet, which can only be mapped by means of unforeseen representational methods – the ‘ ping’. What this suggests is that far from finishing representation off, computation and all it entails will require...