ADTopic Representation: The Latest Architecture and News

All too often, architects and designers spend hours searching for textures and materials to represent their visions. This struggle takes many forms: from scrolling through Google, Pinterest, and databases in search of the perfect texture, to manually creating one over the course of several hours, or even days. In either case, the result is frequently painful, and rarely perfect. A database organized, reliable, free and easy to use is not always a simple thing to find.

Architextures began in 2014 as a library of high-quality image files, with textures submitted by users or created by the platform itself. Over time, the platform’s creator Ryan Canning noticed that, in his professional work as an architect, the array of static image files available online did not meet the specific textures he was looking for in his design projects. Frustrated with the endless process of searching, editing and overlaying textures in Photoshop, Ryan reinvented Architextures in 2019 as an interactive tool where designers like himself could create specified, high-quality textures in seconds. And importantly, being free to use for personal and educational use, with professional accounts available for a small fee to support the tool’s development.

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I met with Juan Alberto Andrade and Cuqui Rodríguez from the JAG Studio in Ecuador during their conference for the sixth edition of EARQ (PUCE-SI). The young couple dedicate themselves to documenting and writing about Ecuadorian architecture. By covering the now famous works of Al Borde, Daniel Moreno Flores, Natura Futura, Rama Estudio, among others, the couple have become the unofficial emissaries of their country.

We sat down with the couple for World Photography Day where they shared, not only their start in and work in photography, but the role of photography in contemporary architecture. 

A century on, the compelling idea that Modern architecture emerged like some blindingly white, crystalline and disruptive phoenix from the darkness, death and destruction of the First World War is, perhaps, a familiar one. And, yet, the charcoal sketches and chiaroscuro montages Mies van der Rohe made during and after the epochal competition for the Berlin Friedrichstrasse Skyscraper of 1921-22 retain the power to catch the eye, provoke and disturb in our own era of overwhelming imagery much of it produced by and with computer programs.

What is so very remarkable about these century-old visionary drawings is that they portray a future building type - verging on the ethereal and more or less impossible to realize at the time - in the earthiest of drawing materials. It had been a stroke of genius to use charcoal to evoke an architecture of lightness rising from the embers of the trenches that would revolutionize the way we shaped tall buildings and with them our city streets. Such is the power of drawing by hand.

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Drawing as an architectural tool serves not only as a means of communication, but through drawing we can also gain a deeper understanding of the subject. To this purpose, Alessandro Luporino has created the Illustrated Dictionary of Architecture. The series of beautiful and evocative illustrations serve as companions for the book “Dictionary of Architecture,” by Nikolaus Pevsner, John Fleming, and Hugh Honor.

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