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The Drawing Matter Trust is announcing the Drawing Matter Writing Prize. The competition invites participants to carefully look at drawings and to consider what they reveal about the process of design, buildings or objects they represent. 

The Writing Prize competition is open to anyone aged over 18, with or without a background in architecture or design. Welcomed are voices from art and architectural history, sciences and humanities, alongside practitioners – architects, designers, artists and writers. The competition will be judged by Prof. Adrian Forty and Prof. Briony Fer, with support from the Drawing Matter editorial team. The competition winners, and other participants with outstanding entries, will be invited to publish their texts on Drawing Matter’s website. Covid-19 restrictions permitting, we hope to announce the winners on Saturday 17 July 2021 at the Drawing Matter Archive in Somerset. 

Biq - Revealing Construction

The French Modernist Auguste Perret is famously quoted as saying that ‘Construction is the mother tongue of the architect. The architect is a poet who thinks and speaks in terms of construction’.  If this is the case, and given drawings are the primary communication tool for architect, it is perhaps surprising that we do not see more architects publishing their construction drawings to communicate their architectural approach or ideas. Perhaps many architects regard construction drawings and the construction process, as a ‘means to an end’ rather than something to present. One practice who explicitly espouse their interest in construction is biq, a Rotterdam practice headed by Rick Wessels and until 2014 Hans van der Heijden, who now continues to explore the theme of construction whilst running his eponymous practice in Amsterdam.

This interest is perhaps best reflected in one particular drawing, published online and in their 2013 monograph ‘Habitat, biq builds the city’, it is what the architects call an ‘elevation fragment’ and portrays an individual house within a masterplan project in Lakerlopen near Eindhoven. It is interesting because it is a hybrid drawing - a construction drawing complete with structural grids and construction notes but also a presentation drawing crisply presented for a monograph. The choice to present it in this manner reflects on the importance they place on construction and, on closer reading, reveals more about their approach to architecture in general.

The drawing represents the front facade of an archetypal house. This singular house is one dwelling within a larger masterplan scheme and forms part of what Hans van der Heijden has called the ‘the bulk of the city’; that is the normal housing that invariably constitutes the majority of the built environment. This masterplan uses this simple house type to form streets and only deviates where necessary to provide an appropriate urban response - houses differ where they turn the corner and blocks of flats front an important axis. Nevertheless it is the typical house that is presented in detail and this standard type is the basis of the language of the masterplan. The emphasis on the typical or everyday does not stop at the urban scale - indeed the minutiae of everyday life is represented on the drawing; a doorbell, letterbox and house number are carefully integrated into the composition and remind us of the domestic nature of the house. The practical canopy, graphically underlined on the elevation by the prominent shadow, also appears rigorously designed down to the integrated lighting and drainage (note the tiny gargoyle). The importance of the canopy, as a moment of transition between the public street and private domestic space, is further emphasised in the construction where we can see in the section that it is a bespoke precast concrete element rather than a standard or lightweight component.

This modest house clearly responds to a specific context and building type and initially the picture of the house appears conventional. On closer inspection however the tightly controlled articulation and composition of the facade seem to lend the house an almost abstract appearance.

The pitched roof and brickwork have a tactile, familiar appearance but are drawn with precision. In contrast the rainwater goods are crisp and seem meticulously articulated, the shadows emphasising their relief from the surface. The downpipes sit precisely on the gridlines at unusually regular intervals; accentuating the seriality of the single house in a row. The hoppers and gutter are strictly rectangular, precise and geometrical in appearance and in combination with the distinctly modern strip window form a ribbon separating the brickwork from the roof surface; at once denying and reminding us of a traditional eaves detail. The window is unusually square and its geometry is accentuated by its position in the centre of the brick panel.

Although the use of these standard elements ensures the building remains faithful to its type, the precise articulation, illustrated so explicitly on the drawing gives it the iconographic appearance of a ‘house’. This approach to typology has been described in the architectural review as a ‘combination of traditionalism and Modernism’ that brings out ‘the potential for abstraction lurking in the former and the cosiness sometimes felt to be lacking in the latter.’  This abstraction seems indebted to the work of Aldo Rossi, especially here, in the use of the conventional-but-square window and the geometry of the archetypal pitched roof. The reference seems unavoidable on this drawing with the use of the crisp shadows that evoke Rossi’s own poignant drawings.

Latterly Hans van der Heijden has associated his practice with a group of Dutch architects, namely Office Winhov, Monadnock and Happel Cornelisse Verhoeven who make claim to a distinct way of practicing that they define in sharp contrast to the ‘superdutch' trends of architecture in the Netherlands. As well as an interest in tradition and typology one of their key concerns lies in construction and in particular the architectural potential of working with the reality of the construction process as it exists today. This drawing can be seen to epitomise that particular approach.

The gridlines and levels emphasise that this is not an abstract picture but a drawing of a house that will be situated on a real building site by a contractor. The architect has situated each element in space to create this particular artefact and these lines remind us of the time consuming discussions with a builder about the detail of setting it out both on the site, and in detail. The lines are crisp and consistent - this is an architectural drawing - materials are present but drawn not illustrated. Section lines as well as door and window swings are carefully considered but follow convention to explain clearly the elements of construction. The notes on the section are perhaps the most graphically obtrusive but they deliberately provide additional information - telling us not just what the facade looks like but what the facade actually is and how it is made. The elevation provides a striking image but we are reminding by the plans and section of the process and endeavour that goes into creating such a simple building.

This is by no means a unique drawing, biq themselves published a similar drawing for an apartment building at Leidsche Rijn, Utrecht. but it does seem to offer a particularly dense concentration of ideas. In Hans van der Heijden’s latest monograph Street Architecture the ‘elevation fragment’ is given a different treatment. It is used to explain the facade as a street facing piece of urbanism with less annotation and the detail of the construction blanked out in plan and section. This leads us to consider the facade as a piece of city in a more abstract sense, removed from its construction, perhaps allowing issues such as relief and composition to be discussed in more isolated and concentrated way. Without any construction information however we lose the sense of these buildings being the product of an enthusiastic understanding of the construction process and its relationship to typology and urbanity.

Biq, Architectural Elaboration of a Standard Type. Elevation fragment of a single house in Lakerlopen, Eindhoven. [Drawing from ‘Habitat - biq Builds the City’, 2013.]

The ‘Standard Type’ forming a street. Lakerlopen, Eindhoven. [Image from hvhda.com]

Today we are happy to announce the beginning of an exciting collaboration with

We will be exploring different ways that Architectuul and Drawing Matter can work together and will have more to announce in the new year. Drawing Matter explores the role of drawing in architectural thought and practice and presents its inquiries in the form of exhibitions, publications, public events, and workshops for students and practitioners. Complimenting and documenting these inquiries is the drawingmatter.org, a fast-growing repository of new and historical writing on architecture and drawing.

Circle of the Sangallo Family, Illustration to Vitruvius Book III (c.1530–1545) | Photo © Drawing Matter

Drawingmatter.org holds 585 texts by 319 writers on 532 architects and 2809 drawings. While the majority of texts on the website address material in the Drawing Matter Collection, it also publishes texts on drawings and objects archived elsewhere, and made by practitioners working today.

Superstudio, The Continuous Monument returns to Florence, View of Ponte Vecchio in a field of maize (1971) | Photo © Drawing Matter

Andrés Jaque-Office for Political Innovation, Intimate Strangers (2016), a video installation | Photo © Drawing Matter

The Drawing Matter Collection is a significant private collection of architectural drawings dating from the sixteenth century to the present. The collection is physically located on Shatwell Farm in rural Somerset and those with specific interests are encouraged to visit it in person as the drawings themselves really must be seen to be read.