LOOK: The winning and commended entries to The Architecture Drawing Prize 2019
The third edition of The Architecture Drawing Prize saw a total of 126 entries from 23 countries, whereas the majority of the entrants were architects and students. It is curated by the World Architecture Festival (WAF), Sir John Soane’s Museum, and sponsored by Hare, and will be awarded at the WAF in Amsterdam
The prize “embraces the creative use of digital tools and digitally-produced renderings while recognizing the enduring importance of hand drawing,” thus the three categories: Digital, Hand-drawn, and Hybrid. From the three categories’ winners, one is selected as the overall winner. The category winners will be exhibited on the drawing prize stand at the WAF, while the commended drawings viewed via an interactive video screen. Each of the category winners will present their work on the Festival Hall stage on 5 December. The overall winner will receive his trophy at the Gala Dinner on 6 December 2019.
We’ve rounded up the winners and commended entries by category with the artists’ descriptions. Edits were made for online publication.
‘City in a box: paradox memories’ by Anton Markus Pasing
“City in a box. part III.“ Paradox memories. (a reminiscence to “Schroedinger’s cat) There may be cities of which one has only heard. Imagine an unknown city full of stories in a huge closed box. As long as the box is not opened, the city is quasi in an ‘intermediate state’ – it is 50% real and 50% non-existent. It is located in a s. G. ‘Superposition’ of these two states. Only when a door is opened we can hear their stories. Or we realize that we ourselves are just a story and the door escorts us into meaninglessness. Our real home.
Anton Markus Pasing is also the overall winner of The Architecture Drawing Prize.
‘Museum of Oblivion Memory I Section’ by Jessica D’Toste
Located to the north end of the city of Winnipeg, The Museum of Oblivion Memory consists of an adaptive renovation to an existing body of industrial ruins. Medium: Mixed media.
‘Perspective of various designs for Hong Kong Palace Museum as if they were models in a site office’ by Yat Chi Tse
Inspired by Joseph Gandy, this drawing imagines the design of the museum as models and drawings being placed at the site office of the museum. In China, we yet remain seemingly forever in the grip of a selfsame mechanism of cultural production, when architects deliriously wander in the shadows of the death valley of architecture. Medium: Digital Print Software Package: Rhinoceros, V-Ray, Photoshop
‘Fireplace, Down House 2099’ by Daniela Yaneva
The project narrative tells of a scientist living in Charles Darwin’s home, ‘Down-House’ and his experiment to grow a house. It leads to an accidental creation of a biologically evolving conscious dwelling that eventually grows into the existing house, breaks through its walls and creates a multi-species habitat. Software used:3d-Studio-Max/VRay/Photoshop
‘Masterplan Rudrapur, Bangladesh’ by Anna Heringer
Embroidery over an upcycled sari blanket. Rudrapur, Bangladesh shows a high level of sustainability: ponds, bamboo as a material source for houses; gardens for food production. Women of Rudrapur stitched together vernacular and modern mud-bamboo structures to prove that life quality is based on creativity and elevating the existing, not on material consumption.
“Disappearing Hong Kong” from the project with the same title by Man Yan Lam, Research Assistant at Condition Lab, School of Architecture, CUHK | height: 200mm; depth: 4500mm | 6/30/2019 | Hong Kong S.A.R., China
‘Disappearing Hong Kong’ by Man Yan Lam
The panorama size drawing represents all hand sketches in ink pen about the disappearing conditions in Hong Kong, which is an endless collection of sketches. Hong Kong is developing at a very rapid pace, all these pieces were done to document the stories behind, by the time they disappear.
‘Stelzenhaus III (stilt-house)’ by Denis Andernach
I draw houses as formal studies in idealized landscapes. (Fiction – no client)
‘Scrovegni Chapel – Worksheet’ by Ben Johnson
Drawings based on studies of the Scrovegni Chapel in Padua. Initially reconstructed from measure drawings as a three-dimensional model and then viewed as a building in rotation centering on the chancel. Subsequently, this work was realized using hand-based traditional techniques of pen on paper.
‘Drawing Architecture’ by Michael Lewis
Drawing Architecture is a celebration of the design process; documenting over one thousand individually hand-drawn ink diagrams, sketches, and annotations. The piece spans ten years of architectural thinking and includes work from my time at Bath University, competitions, and live projects at Feilden Clegg Bradley Studios.
‘Ark City, viewed from flood level, passing through London’ by Louis Sullivan
A fictional architecture to survive the post-flood world of the near future, Ark City is a monumental endeavor, meticulously hand-drawn in pencil on paper. A collaboration between Eric Wong, Louis Sullivan, Colette Roberts, and Christopher Canada, the drawing was realized over the weekends of July and August 2019.
‘Odlums quarter, masterplan for a museum and art hub at Dublin port’ by Sarah Delanchy
These drawings were made for a masterplan competition. Hand-drawing was used as a tool to analyze a specific context and understand its complexity. More than just a representation, it’s a way of designing architecture and illustrating relationships between territories, architecture, and people. Rotring pen and black ink on Bristol paper.
‘Descriptive Synthesis; Spatial Fluidity’ by Danni Tian
A series of pencil drawings for Lewerentz’ Klippan Church with respectively invented geometry and technique. Each drawing aims to describe a wholeness of the building on a specific scale, with perceivable measurements, shapes, materiality, and movement for its viewer, exploring methods to draw and to understand architecture, visual communication, and time-space.
‘Metabolist of a Dementia Nation’ by Jerome Ng
Singapore’s Golden Mile Complex, an important icon of the 1970’s Metabolist urbanism, faces imminent demolition. The drawing speculates on an alternative vision for this huge residential block, that not only saves the building, but also allows it to absorb physical artifacts from Singapore’s threatened urban infrastructure; allowing new and existing residents to forge new memories, whilst giving space for the past to breathe.
‘The Sea Vault’ by Felix Cheong
The growth rings on mollusk shells track environmental changes – they are nodes that form a biological record of the past. In this speculative project, the architecture manifests as a repository for these shells, chronicling our collective history. Hand sketched/shaded with graphite on paper then digitized and painted in Photoshop.
‘The Phoenix Towers’ by Laurie Chetwood
The 1km high Phoenix Towers for the City of Wuhan China, are designed to aerate the lakes which are a feature of the city and clean the air as part of an environmental initiative to improve the health and wellbeing of Wuhan’s citizens.
The judging panel for this year included artists Ben Langlands and Nikki Bell from Langlands and Bell; Ken Shuttleworth, Founder of Make Architects; Narinder Sagoo, Senior Partner at Foster + Partners; Paul Finch, Programme Director of the World Architecture Festival; Owen Hopkins, Senior Curator of Exhibitions and Education at Sir John Soane’s Museum in London; Manuelle Gautrand, Founder of Manuelle Gautrand Architecture; Christian Schittich, writer, consultant and architect and Gary Simmons, Main Board Director at William Hare Group.
The winners and commended works will go on display at a dedicated exhibition at the Sir John Soane’s Museum in London from 15 January to 16 February 2020.
Images courtesy of World Architecture Festival