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Drawing On: Surface and Installation launched in March 2018. Contributions responded to the provocation that surfacing and installing —and recording surfaces and installations— as related but distinct practices are key design-research methods, engaging both drawing in and between worlds and the world. As a prelude to this issue, and as a means of entering into questions of surface and installation, Drawing On: Surface and Installation hosts a record of a conversation between Alexander Brodsky, Mark Dorrian and Richard Anderson.

Editors
Dorian Wiszniewski, Sebastian Aedo, Konstantinos Avramidis, Sophia Banou, Chris French, Piotr Lesniak, Maria Mitsoula



Drawing On:
Surface and Installation



Facades. Triumph Gallery, Moscow, 2013 Facades. Triumph Gallery, Moscow, 2013 Coma. Marat Guelman Gallery, Moscow, 2000 Coma. Marat Guelman Gallery, Moscow, 2000 Canal Street Subway Project. Canal Street Station, New York, 1996 Grey Matter. Ronald Feldman Fine Arts Gallery, Moscow, 1999 Grey Matter. Ronald Feldman Fine Arts Gallery, Moscow, 1999 It still amazes me that I became an architect. Architekturzentrum Wien, Vienna, 2011. Photograph: Yuri Palmin It still amazes me that I became an architect. Architekturzentrum Wien, Vienna, 2011. Photograph: Yuri Palmin
PL
‘Space Drawing’
Alexander Brodsky, Mark Dorrian & Richard Anderson


PR
Of ‘Things Between Things’
Piotr Lesniak & Chris French



The Analogical Surface, Cameron McEwan Analogical Venice Analogical Milan Surface Cuts Analogical Forms Analogical Architecture Resituating Analogical Form Rossi, Analogical City Studies Analogical Inventory Analogical Surfacing Analogical Space
02
The Analogical Surface
Cameron McEwan



Anexact but Rigorous, Miguel Paredes Maldonado Coda #2: The anexact but rigorous apparatus as a projective descriptor of territories Ryue Nishizawa, Emona Hotel, Bulgaria, 2005. Digitally re-drawn vector plans Ryue Nishizawa, Emona Hotel, Bulgaria, 2005. Scanned output from drawing apparatus Ryue Nishizawa, Yu-Xo Gardens, Taipei, 2005. Digitally re-drawn vector plans Ryue Nishizawa, Yu-Xo Gardens, Taipei, 2005. Scanned output from drawing apparatus Ryue Nishizawa, Access canopy to Kumamoto train station, 2007. Digitally re-drawn vector plans Ryue Nishizawa, Access canopy to Kumamoto train station, 2007. Scanned output from drawing apparatus Ryue Nishizawa, N Museum, Kagawa, 2004. Digitally re-drawn vector plans Ryue Nishizawa, N Museum, Kagawa, 2004. Scanned output from drawing apparatus SANAA, Flower House, Switzerland, 2006. Digitally re-drawn vector plans SANAA, Flower House, Switzerland, 2006. Scanned output from drawing apparatus SANAA, Lumiere Park Café, Amsterdam, 1999. Digitally re-drawn vector plans SANAA, Lumiere Park Café, Amsterdam, 1999. Scanned output from drawing apparatus Kazuyo Sejima, Multifunctional Complex, Onishi, 2003. Digitally re-drawn vector plans Kazuyo Sejima, Multifunctional Complex, Onishi, 2003. Scanned output from drawing apparatus Kazuyo Sejima, Gazebo Pavilion, Inujima, 2008. Digitally re-drawn vector plans Kazuyo Sejima, Gazebo Pavilion, Inujima, 2008. Scanned output from drawing apparatus
04
Anexact but Rigorous
Miguel Paredes Maldonado


Material Openings, Michael Davis The Vessel: Parts 1-7. Photograph: S. Devitt The Vessel: Part 1. Photograph: S. Devitt The Vessel: Part 2. Photograph: S. Devitt The Vessel: Part 3. Photograph: S. Devitt The Vessel: Part 4. Photograph: S. Devitt The Vessel: Part 4. Photograph: S. Devitt The Vessel: Part 5. Photograph: S. Devitt The Vessel: Part 5. Photograph: S. Devitt The Vessel: Part 6. Photograph: S. Devitt The Vessel: Part 6. Photograph: S. Devitt The Vessel: Part 7. Photograph: S. Devitt The Vessel: Part 7. Photograph: S. Devitt The Vessel as a performative apparatus in-site at RMIT. Photograph: V. Ceelen
05
Material Openings
Michael Davis


06
Parallel Projections
Samantha Krukowski & Peter Goché


07
Delineating Surfaces
Thi Phuong-Trâm Nguyen


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