Launched in 2017, The Architecture Drawing Prize is conceived to celebrate and showcase the significance of drawing as a tool in capturing and communicating architectural ideas. It embraces the creative use of digital tools and digitally-produced renderings, while recognising the enduring importance of hand drawing. The open call invited entries of all types and forms: from technical or construction drawings to cutaway or perspective views – and anything in between. Entries are accepted across three categories: 1) hand drawing; 2) digital drawing; and 3) hybrid drawing, combining the two. Submissions are evaluated on the basis of their technical skill, originality in approach and ability to convey an architectural idea, whether for a conceptual or actual building project.
Apartment #5, a Labyrinth and Repository of Spatial Memories
by Clement Laurencio
本次奖项评委Ben Langlands和Nikki Bell在评价该作品时说：“该作品创造出了一个由多幅手绘组成的迷宫，每幅画都讲述着它们各自的故事。纯熟的技巧和精准度展现出作者的敏锐与自信，同时让使作品传达出熟悉而又神秘的氛围。”
The overall winner of the fourth annual Architecture Drawing Prize is Apartment #5, a Labyrinth and Repository of Spatial Memories by Clement Laurencio, Bartlett School of Architecture, UCL. The drawing was also winner of the Hybrid Category.
The dwelling, set in London, re-creates atmospheres of places remembered from a recent voyage to India. Separate pencil hand-drawings are digitally composed, corrupting and curating places into a labyrinth of spatial memories.
Commenting on the overall winner, artists Ben Langlands and Nikki Bell, judges of the prize said: “This drawing creates a labyrinth of drawings, each with its own story. Familiarity and mystery are conveyed with a sensitive, confident technique of great skill and precision. There is nothing loud or colourful, only a realm of acutely observed detail with a powerful muted presence. You can really imagine being here.”
Dear Hashima by Marc Brousse
The winner of the Hand-drawn Category is Dear Hashima by architect/artist Marc Brousse.
The drawing, one of a series, is intended to re-question the position of man within the city, based on the ideas of the sociologist Zygmunt Bauman. Ink/charcoal, invisible ink, using Traitillism as a method, whereby the line symbolizes life, space, thought and memory.
Commenting on the drawing, judge Louise Stewart, Curator of Exhibitions at Sir John Soane’s Museum, said: “All the judges were very impressed by the incredibly individual drawing technique used here, which is technically impressive and visually highly effective.”
Re-Reading Metropolis by Chenglin Able
LilyJencksStudio / JencksSquared的创始人兼评委Lily Jencks评价：“该作品将地图、平面图、基础设施系统和数据输入等多种形式的绘图叠加起来，从而提出了一种全新的绘制城市地域的方式，兼顾了趣味性和精确性。”
The winner of the Digital Category is Re-Reading Metropolis by Chenglin Able, University of California, Berkeley.
The project adopts a ‘frame within frame’ quality to create tension between isolation and unity, between quiet residential and bright urban lives, and between infill and pavilion knitted to the frame of the surrounding context. The project is actively engaging new interpretations of iconic historical buildings and redefining the typology of a water temple.
Commenting on the drawing, judge Lily Jencks and Co-founder of LilyJencksStudio/ JencksSquared said: “Layering drawing types – maps, plans, infrastructural systems and data entry, Re-Reading Metropolis suggests a fresh way to map an urban territory, both playful and precise.”
Airplane Tower by Victor Hugo Azevedo and Cheryl Lu Xu
除了以上几个分类外，今年还针对疫情特别设立了“隔离奖”。本届“隔离奖”的获得者为Robert A. M. Stern Architects的Victor Hugo Azevedo和Cheryl Lu Xu，其作品名称为《机场大楼》。
Make Architects的创始人及兼评委Ken Shuttleworth评价：“该作品围绕疫情这一严肃的主体进行了直白、充满智慧和角度多元的探讨，同时将环境和再利用政策与住房危机和旅游业所面临的诸多挑战联系起来。”
This year also saw the introduction of a special prize focused on the global lockdown during the Covid-19 pandemic. The ‘Lockdown Prize’ was awarded to Airplane Tower by Victor Hugo Azevedo and Cheryl Lu Xu, Robert A. M. Stern Architects
Ken Shuttleworth, Founder of Make Architects and one of the prize judges commented: “We were captivated by the Airplane Tower drawing’s immediacy, wit and use of multiple perspectives while addressing serious questions around the pandemic, interlinking the environment and reuse agenda with the housing crisis and the many challenges faced by the travel industry.”