Survey

Architecture Iconographies

A lavishly illustrated history of the architectural survey drawing across four centuries

 

Title Information

Matthew Wells. Edited by Sarah Handelman

1st edition

, 2021

Paperback with dust jacket

176 pages, 102 color and 13 b/w illustrations

23 x 30 cm

ISBN 978-3-03860-250-7

In cooperation with Drawing Matter, Wincanton (Somerset)

Content

When architects visit a building, and want to record or identify what they see, they take out a bundle of folded sheets in search of a blank piece of paper. These sheets may be ground plans, diagrams, sketches and ordnance maps. In one way or another, all are survey drawings, operating as both documentation and analysis, enabling an architect to examine certain conditions of the built environment, whether geometric, relational, material or technical.

This book explores the history of the survey and its multiple forms in order to understand how the methods of recording what already exists can also be used to imagine what might be. Lavishly illustrated, with works from the collection of Drawing Matter and beyond, it addresses the multiple forms of the survey through focused studies – on John Soane (1753–1837), Charles Robert Cockerell (1788–1863), and Detmar Blow (1867–1939); French architects Louis-Hippolyte Lebas (1782–1867), Henri Labrouste (1801–1875), and Eugène Viollet-le-Duc (1814–1879); and Swiss-based Peter Märkli (born 1953) – and an extensive section of plates with commentaries by contemporary architects. In doing so, it maintains that while all surveys begin with the site, the outcomes are as idiosyncratic as their authors – and their methods have much to offer as tools in design practice.

With commenting captions for selected drawings by Biba Dow, Tom Emerson, Stephanie Macdonald, Willem Jan Neutelings, Sheila O'Donnell, Thomas Padmanabhan, Eric Parry, David Valinsky, Lucas Wilson, and Peter Wilson.

 

The book is the first in the Architecture Iconographies series, published in collaboration with Drawing Matter, an organization based in Wincanton, Somerset, that explores the role of drawing in architectural thought and practice. They consider the image-making of architecture through its typologies and unique approaches to drawing. Exploring their resonance in the history of the profession, as well as their relationship to the architects themselves, the series aims to open up further possibilities for their use in both practice and teaching.

 

Matthew Wells is a lecturer and postdoc researcher at ETH Zurich’s Institute for the History and Theory of Architecture. The focus of his research and writing is on representational techniques, environmental technologies, and professionalism in the built environment of the 19th and 20th centuries.

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Cover

Ephraim Chambers, ‘Table of Surveying’ from the Cyclopaedia, 1728. Courtesy University of Wisconsin-Madison Libraries

Alberto Ponis, Yacht Club Path, 1965. Coloured inks over print base on yellow paper, 365 × 1007 mm. © Drawing Matter Collections

Detmar Blow, Tintagel Old Post Office, elevations and ground plan, 1896. Pencil on paper, 180 × 115 mm. © Drawing Matter Collections

Detmar Blow, Tintagel Old Post Office, elevations and ground plan, 1896. Pencil on paper, 180 × 115 mm. © Drawing Matter Collections

Detmar Blow, Tintagel Old Post Office, elevations and ground plan, 1896. Pencil on paper, 180 × 115 mm. © Drawing Matter Collections

Detmar Blow, Tintagel Old Post Office, elevations and ground plan, 1896. Pencil on paper, 180 × 115 mm. © Drawing Matter Collections

Section photography © Lewis Ronald

Frank Lloyd Wright, E J Kaufmann Residence, Fallingwater, Bear Run, Pennsylvania, 1936–39. Pencil on tracing paper, 380 × 550 mm. Drawing Matter Collections © Drawing Matter

Zachary Mollica, Jonathan Sellers and Lucas Wilson, ‘The Barton’, Shatwell Farm, Somerset, 2019. Digital Lidar scan. © Drawing Matter Collections

Charles Percier, preparatory drawing for a Muséum Idéal, 1796. Pen, ink, wash and bodycolour on reverse, 457 × 584 mm. © Drawing Matter Collections

 

All images printed must come with respective picture credit and may only be published in connection with a book review containing the publishing house, the title of the book and names of editors or authors.

 

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