Luise Vormittag & Adam Walls

Chiao-Yu Chen, Toby Duncan, Yo Hosoyamada, Giada Maestra, Shiqian Pan, Yaqing Xia

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Project for a Painted Wall, New York City, New York

"By moving beyond what is given in the world - the things we perceive - imagination reaches for the unforeseen and for what has not yet been experienced. Thus imagination can be said to prepare the ground for the real and is always at work trying to transform it."

Dobraszczyk, P., 2019. Future Cities: Architecture and the Imagination. 1st ed. Reaktion Books.

Future Cities: Architecture and the Imagination

"By moving beyond what is given in the world - the things we perceive - imagination reaches for the unforeseen and for what has not yet been experienced. Thus imagination can be said to prepare the ground for the real and is always at work trying to transform it."


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Memento Mori

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“I think every area is special. It depends where you come from. In London I can go back to places whenever I like. But you always find new places. London is full of that – I still go down roads I have never been down. “

King's Cross Revisited

"Art does not reproduce the visible; rather, it makes visible."

The Inward Vision

'Art does not reproduce the visible; rather, it makes visible.'

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"This housing project in Porto is one of Siza’s most politically engaged works—due to the architect’s sensitive relation to the existing urban context and the involvement of the population in the process of design. Like other large-scale residential projects at the time, the housing was designed for the Serviço de Apoio Ambulatório Local (SAAL), a government organization that addressed the lack of safe and affordable housing in Portugal after the revolution of 1974. Part of a greater planning intervention intended to renovate a densely packed neighborhood in the historical center of the city, the row of twelve houses fills the small site, adapting itself to the locale and offering an alternative for tabula rasa approaches to urban renovation. Poetically blending regional and modern references, the project demonstrates that a scarcity of resources can result in a resonant cultural and political architectural statement." (Museum of Modern Art Gallery Label) 

SAAL. S. Victor Social Housing

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Billingsgate Exotics Fish ltd

“The drawings are both analytical and representational not only of the spaces but also of a certain position adopted.On the one hand, this is a position that articulates that these drawings are contingent, and therefore a fragmentary representation of an encounter with the site. On the other had, the drawings therefore form part of an argument recognising the important of these sites as spatial and important as a subject of spatial research.” (p. 216)

Subaltern Architectures: Can Drawing "Tell" a Different Story?

'The drawings are both analytical and representational not only of the spaces but also of a certain position adopted.On the one hand, this is a position that articulates that these drawings are contingent, and therefore a fragmentary representation of an encounter with the site. On the other had, the drawings therefore form part of an argument recognising the important of these sites as spatial and important as a subject of spatial research.'

"All these pictures of the world should not be allegories of infinite mobility and interchangeability but of elaborate specificity and difference and the loving care people might take to learn how to see faithfully from another’s point of view, even when the other is our own machine." (p. 583)


Situated Knowledges

‘All these pictures of the world should not be allegories of infinite mobility and interchangeability but of elaborate specificity and difference and the loving care people might take to learn how to see faithfully from another’s point of view, even when the other is our own machine'

"The pieces are short but full of detail, based on interviews with a range of men and women who eked out a precarious and marginal existence working on the streets of London, including flower-sellers, chimney-sweeps, shoe-blacks, chair-caners, musicians, dustmen and locksmiths".

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"The pieces are short but full of detail, based on interviews with a range of men and women who eked out a precarious and marginal existence working on the streets of London, including flower-sellers, chimney-sweeps, shoe-blacks, chair-caners, musicians, dustmen and locksmiths".

Street Life in London

"A tangle of roads and lanes, a muddle of rising and falling neighbourhoods, London can be a tough beast to tame, even for those who call it home. But this ever-changing and regenerating capital can also charm you with its beauty, from its wind-rustled parks to that winding River Thames. Its mix of people, abundance of culture and the occasional louche night on the tiles also makes it a city that will surprise and win you over".


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"A tangle of roads and lanes, a muddle of rising and falling neighbourhoods, London can be a tough beast to tame, even for those who call it home. But this ever-changing and regenerating capital can also charm you with its beauty, from its wind-rustled parks to that winding River Thames. Its mix of people, abundance of culture and the occasional louche night on the tiles also makes it a city that will surprise and win you over".

London

"Moving around the modern city becomes more than from getting from A to B, but a way of understanding who and where you are".

The Walker: On Finding and Losing Yourself in the Modern City

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London, a pilgrimage

'Regeneration' is too often an unfair fight between local people and global finance

'Regeneration' is too often an unfair fight between local people and global finance'

'If one of the central ideals of urban improvement in the nineteenth century was the flow of movement, then Holywell Street was an impenetrable congestion, obstructing the main thoroughfare and line of communication between the City of London and Westminster. Topographically, Holywell Street lay at the mid-point on a route that linked the Houses of Parliament in Westminster and the criminal courts at the Old Bailey in the City of London. These highly symbolic sites marked the spatial beginning and end of law: the place of the framing of legislation and the place of its enactment. Holywell Street's transgressive space interfered with the linear, hierarchical vision of law. It was a place of desire and resistance, in which space itself assumed political dimension.'

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Annotated section of Whitbread's New Plan of London: Drawn from Authentic Surveys ( London: J. Whitbread, 1857). Showing the topographical relationship of the Palace of Westminster, Holywell Street and the Central Criminal Court.

"If one of the central ideals of urban improvement in the nineteenth century was the flow of movement, then Holywell Street was an impenetrable congestion, obstructing the main thoroughfare and line of communication between the City of London and Westminster. Topographically, Holywell Street lay at the mid-point on a route that linked the Houses of Parliament in Westminster and the criminal courts at the Old Bailey in the City of London. These highly symbolic sites marked the spatial beginning and end of law: the place of the framing of legislation and the place of its enactment. Holywell Street's transgressive space interfered with the linear, hierarchical vision of law. It was a place of desire and resistance, in which space itself assumed political dimension. "

Whitbread's New Plan of London

'This is a landscape of chaos and catastrophe in which every physical element has lost its meaning and itellgibility. The world's first underground railway, which opened in London in 1863, play ed a significant part in this reconceptualization of space. Now, instead of traversing space by following the logic of streets and other identifiable external features, people could travel below the ground, on routes that obeyed the logic of their own lines and expediency. They could descend at one point in the city and emerge at another,  with little sense of the spaces between, or the meaning of the time taken to make the journey.'

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The Railway Works at Blackfriars and Opening Towards Ludgate Hill, Viewed from the Temporary Bridge, Illustrated London News, 23 April 1864

"This is a landscape of chaos and catastrophe in which every physical element has lost its meaning and itellgibility. The world's first underground railway, which opened in London in 1863, play ed a significant part in this reconceptualization of space. Now, instead of traversing space by following the logic of streets and other identifiable external features, people could travel below the ground, on routes that obeyed the logic of their own lines and expediency. They could descend at one point in the city and emerge at another,  with little sense of the spaces between, or the meaning of the time taken to make the journey."

The Railway Works at Blackfriars

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Patrick Keiller on London

Any historical view clearly implies a belief that the past has fundamental significance, one aspect of which is so pervasive as to be easily overlooked: the powerful fact that life must be lived amidst that which was made before.’ (7)

‘Every landscape is an accumulation. The past endures,’ (7) 

‘So comprehensive and powerful has been man’s role in changing the face of the earth that the whole landscape has become an artifact.’ (3) 

Meinig, D. W. (1979). The Beholding Eye: Ten Versions of the Same Scene. In: D. W. Meinig, ed., The Interpretation of Ordinary Landscapes: Geographical Essays. Oxford: Oxford University Press, pp. 1-9. 

The Beholding Eye

'Any historical view clearly implies a belief that the past has fundamental significance, one aspect of which is so pervasive as to be easily overlooked: the powerful fact that life must be lived amidst that which was made before.' 


Photography not only records the moment of the photographer but also gives viewers imagination and curiosity. Inspire the viewers to know more about this place's history, background, and story in the photos.
As quotes in the book *Camera Constructs: Photography, Architecture and the Modern City*, even if the attractive photo is taken by apps and computers, it still cannot change the reality of the places. For the tourists, they make the photos more objective. Perhaps they don't understand all of this place like the residents, but they feel the weather, temperature, colors, and visual experience at the moment, and show the real emotion brought by the current space.


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> More than just a representation or visual account of the world, and despite all the distortions, transcriptions and manipulations that light undergoes in the process of its production and reproduction, the photograph is a recording, a mark of the real. - Camera Constructs: Photography, Architecture and the Modern City, p.106

Photography not only records the moment of the photographer but also gives viewers imagination and curiosity. Inspire the viewers to know more about this place's history, background, and story in the photos.
As quotes in the book *Camera Constructs: Photography, Architecture and the Modern City*, even if the attractive photo is taken by apps and computers, it still cannot change the reality of the places. For the tourists, they make the photos more objective. Perhaps they don't understand all of this place like the residents, but they feel the weather, temperature, colors, and visual experience at the moment, and show the real emotion brought by the current space.





This Must Be the Place

> 'The environment suggests distinctions and relations, and the observer—with great adaptability and in the light of his own purposes—selects, organises, and endows with meaning what he sees'. - p. 6, Image of the City, Kevin Lynch

In the drawing of Lis Watkins' "Squares", she presents different perspectives in the illustrations. Looking at the pictures, we seem to be overlooking the squares but also looking straight forward at the buildings surrounding the square. Drawing from different angles makes us immersed in the environment as the observer. When tourists reorganized through their own thinking and drawing habits, and present them on drawing, it remakes the look and meaning of the space.

In addition to the composition, the use of color tones also fully demonstrates the artist's feeling and personality in the environment and space. The performance of the illustrations may be given a new look and story to the city due to the mood and feelings of the tourists, even if spaces would not change.

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Parliament Square 

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Trafalgar Square


> 'The environment suggests distinctions and relations, and the observer—with great adaptability and in the light of his own purposes—selects, organises, and endows with meaning what he sees'. - p. 6, Image of the City, Kevin Lynch

In the drawing of Lis Watkins' "Squares", she presents different perspectives in the illustrations. Looking at the pictures, we seem to be overlooking the squares but also looking straight forward at the buildings surrounding the square. Drawing from different angles makes us immersed in the environment as the observer. When tourists reorganized through their own thinking and drawing habits, and present them on drawing, it remakes the look and meaning of the space.

In addition to the composition, the use of color tones also fully demonstrates the artist's feeling and personality in the environment and space. The performance of the illustrations may be given a new look and story to the city due to the mood and feelings of the tourists, even if spaces would not change.




Squares

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I Am London for Moleskine  

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> "Nothing is experienced by itself. " (p.1)

> 'The environment suggests distinctions and relations, and the observer—with great adaptability and in the light of his own purposes—selects, organises, and endows with meaning what he sees' (p.6)



The Image of the City 

> "Nothing is experienced by itself. " (p.1)



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Some of the comments below:

' Magnificent! I think every scene is art. Thank you for sharing from South Korea.'

' Never thought London would be this empty and calming! this is a visual treat!'

' I consider myself blessed for having spent nearly 5 years living in London, the experiences that have made me who i am today can no one  ( but Alzheimers ) take away from me.'


London Rain Walk in DESERTED West End, Soho & Marylebone Streets - Saturday Morning City Ambience

> "Here this beloved illustrator shares his impressions of London with its beautiful buildings, historic monuments, bridges, parks, shops and Piccadilly Circus, black cabs, Horse Guards, and famed Underground. Sasek has cast his loving eye on London and the result are colorful, sophisticated pictures of one of the most exciting cities in the world, paired with a lively text that keeps a playful sense of fun while taking the reader to the highlights of one of the world's great capitals".

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> "Here this beloved illustrator shares his impressions of London with its beautiful buildings, historic monuments, bridges, parks, shops and Piccadilly Circus, black cabs, Horse Guards, and famed Underground. Sasek has cast his loving eye on London and the result are colorful, sophisticated pictures of one of the most exciting cities in the world, paired with a lively text that keeps a playful sense of fun while taking the reader to the highlights of one of the world's great capitals".

This is London

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London's Hidden Walk

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The Heron and some Cranes

> “Conceptually, there are similarities between the ethos of urban sketching and a lot of the research we do at the Morgan Centre. We share a curiosity about the everyday world around us. We have a real fascination with things like emotions and experiences which are notoriously hard to pin down in words. We are committed to exploring the world around us in innovative and creative ways.

> "And yet, our respective ways of working would look very different to an observer. Urban sketchers work quickly and intuitively, selecting which parts of their environment to include in or leave out of their sketch. Unlike most photographs, sketches often capture a period of time rather than a fraction of a second, and some sketchers – including Lynne – choose to highlight small, yet significant, details or include snatches of conversation in the drawing. Urban Sketchers aim to be truthful to the scene, “showing the world, one drawing at a time”, but through personal interpretation rather than a reproduction.”
—Lynne Chapman

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> “Conceptually, there are similarities between the ethos of urban sketching and a lot of the research we do at the Morgan Centre. We share a curiosity about the everyday world around us. We have a real fascination with things like emotions and experiences which are notoriously hard to pin down in words. We are committed to exploring the world around us in innovative and creative ways.

> "And yet, our respective ways of working would look very different to an observer. Urban sketchers work quickly and intuitively, selecting which parts of their environment to include in or leave out of their sketch. Unlike most photographs, sketches often capture a period of time rather than a fraction of a second, and some sketchers – including Lynne – choose to highlight small, yet significant, details or include snatches of conversation in the drawing. Urban Sketchers aim to be truthful to the scene, “showing the world, one drawing at a time”, but through personal interpretation rather than a reproduction.”
—Lynne Chapman

Urban Design 

A woodcut from the 1870s shows an aerial view of the main east - west arterial route, along Fleet Street and the Strand . From the green outskirts of the city, tiny notations mark the carriages and pedestrians who stream westwards from the City, through the boundary of Temple Bar, on to St Clement Danes and along the Strand, or into the narrow strait of Holywell Street. Everything seems to move to the west, through Temple Bar. As one contemporary history put it, 'more persons pass under Temple Bar than under any archway in the world.'

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A woodcut from the 1870s shows an aerial view of the main east - west arterial route, along Fleet Street and the Strand . From the green outskirts of the city, tiny notations mark the carriages and pedestrians who stream westwards from the City, through the boundary of Temple Bar, on to St Clement Danes and along the Strand, or into the narrow strait of Holywell Street. Everything seems to move to the west, through Temple Bar. As one contemporary history put it, 'more persons pass under Temple Bar than under any archway in the world.'
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Bird's Eye View of the Strand, n.d. From A Catalogue of Maps, Plans and Views of London, Westminster and Southwark. Collected and Arranged by Frederick Crace, Edited by His Son John Gregory Crace

"The ELEPHANT & CASTLE neighbourhood in LONDON is well known as the biggest centre of the Latin American community in the UK. There are around 150 Latin American and minority ethnic businesses in the area. The ELEPHANT & CASTLE SHOPPING CENTRE, where many of these businesses are located, has not seen any significant investment in recent years and is in a critical state of disrepair. An extensive and highly controversial proposal for the redevelopment of the site is likely to result in the current SHOPPING CENTRE and the surrounding structures, including an outdoor market and two railway arches being destroyed or cleared."

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Walking the elephant

"Discover the secrets of London in our brand new walking tour of Covent Garden, Kingsway, Lincoln’s Inn Fields and Victoria Embankment.

Join our expert guides on an tour off the beaten path, down hidden back streets and find hidden secrets you’ve never even noticed.

Find out how the area has transformed over the last 200 years since the birth of public transport, and see abandoned transport infrastructure and remarkable feats of engineering that have shaped London".

Walking tours: Secrets of Central London

"The history of housing the working population in Britain has a predictable circularity in architectural form; one generation’s panacea becomes the next generation’s problem, only to be reappraised with remorse after it has passed".

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"The history of housing the working population in Britain has a predictable circularity in architectural form; one generation’s panacea becomes the next generation’s problem, only to be reappraised with remorse after it has passed".
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davidjamesroberts

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Doug John Miller

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Drawings by the Camden Town Group

‘Building is transitive: it ends in something built, already envisaged from the outset. But dwelling is intransitive: like life, it carries on.” (300)

Drawing Together

‘Building is transitive: it ends in something built, already envisaged from the outset. But dwelling is intransitive: like life, it carries on.'

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Edward Bawden Smithfield Market 1967

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Fugitive Images project

**THE DEVELOPER/THE DREAMER** -
**THE JOURNALIST/THE WRITER** -
**THE HISTORIAN** -
**THE RESIDENT** -
**THE TOURIST** -
