Hull’s, Yale and Massimo Scolari Make Magic

It was said that these windows, these portals through space and time, presented cities imagined by a brilliant architect whose designs evoke both flood and flight, whose life’s work spans centuries that pass in decades. His is a world where thought manifests as pure form and color, destined to remain unconstructed in ours, though no less real.  (Life Without Buildings).

“Is drawing dead?” The man asked a packed house in Yale School of Architecture’s Rudolph Hall. The room next door for over flow, where his voice could be heard through connecting speakers, was full as well. The audience, silent, some with smug smiles and studied expressions, looked at the man and contemplated.

Drawing the Line

Where do you draw the line?  One could begin here.

But actually referring to Hull’s delightful selection of colorful pencils, markers, soft and hard pastels and compressed charcoal.  And what they create: details and vibrant tones, ambiguous shadows and images.  I often favor drawings over paintings for their intelligence and intimacy, authenticity.