![]() Additionally, it marked the beginning of Archigram’s (especially Peter Cook’s) romance with the mechanics of sequential imaging, which would be used to present subsequent projects. With its bold use of comic book and general science fiction imagery, it also became an inevitable presence in any recount of the occasionally close encounters of architecture and the graphic narrative, as well as a stimulus for the use of the latter in the 1960s and 70s visionary architectural scene. Thanks to the intervention of both Peters (Banham and Blake), the “Zoom” issue propped Archigram into an international context, helping create the public perception of Archigram not only as a magazine, but also as an architectural team with a certain conceptual and aesthetic agenda. The video continues with cook explaining why he disagrees with critics calling his architectural ideas utopian: ‘by the critics and the regular people saying it’s utopian, you put it into a pigeonhole that says: ‘oh, those sorts of architects are utopian, but we are normal architects.’ so, the delight I get out of doing buildings is to say: screw you, it can be build.When, in May 1964, the fourth issue of Archigram, (also known as “Amazing Archigram / Zoom”) came out, it signalled the final boost of Archigram magazine. all exhibited drawings are part of cook’s own collection, and the texts describing the drawings in the exhibition are written by cook himself. the drawing technique has always grown out of the overall idea of the project. each is a collage of ideas and methods attempts to communicate about architecture through drawing. and then there was a very particular thing which was we often had tea or had to visit places and there would be an inevitable sort of hotel which would have an etching of the town… and I was fascinated by these usually horizontal engravings with the houses and church, and the castle… and I began to draw… and I would invent towns and somehow start to put more modern architecture.’Īccording to cook, the exhibited drawings can be seen as notes to architectural themes that have mattered to him. On the video, sir peter cook begins by saying there were two main reasons that drew him to architecture: ‘one was that my mother had been a frustrated artist… and the other thing was my father was an army officer who had contrived to stay in england… and I was taken as a little tiny kid to see grand houses which the army were then taking for paratroops and tanks. paper provides an ideal opportunity to shake up conventional notions of cities and life forms, free from the demands and obligations of concrete solutions and materials. ![]() visions of the future are most clearly expressed and can best be discussed in drawings, cook contends. his work as an architect lives mainly in drawings while the number of built projects, one being kunsthaus graz in austria, is less extensive. With his avante-garde theory and vision, now on display at louisiana museum of modern art (see here) - peter cook has made his mark as one of the most important architects of our time. ![]() PETER COOK, ONE OF THE MOST IMPORTANT ARCHITECTS OF OUR TIME Screenshots taken from the video by louisiana channel ‘I was arrogant enough to say: ‘I’m sorry, I’m not just going to sit at the back of the process and specify door handles I’m going to be a creative architect.’ and so, you just bloody well had to do it like an artisan.’ ‘because I was not a natural drawer, I realized that I was determined to communicate ideas,’ says sir peter cook on the video. set within the architect’s london studio in january, the conversation between cook and marc-christoph wagner highlights the possible benefits of drawing by hand. SCREW YOU IT CAN BE BUILD – PETER COOK ON DRAWING BY HANDĪs part of city landscapes - a solo exhibition on british avant-garde architect sir peter cook’s work -denmark’s louisiana museum has released a video titled screw you it can be build. ![]()
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