Drawing With Music






















 Drawing With Music 


 Adrian Labaut Hernandez




Who influences you graphically?

Graphically I feel very influenced by of course, Archigram, Archizoom, Superstudio, as well as by Koolhaas and Eisenman. My inspiration is however not limited to architects, directors as David Lynch, Lars von Trier,  Jim Jarmusch, Guy Maddin are very important. In this case, what I’m interested in is the final expression through the establishing of specific moods and atmospheres. The illustrations crafted, as the architectural project itself or any other form of expression, is not created as part of work-to-do. Personally I need a specific mood and place, which normally I get through the music. This is as important as the illustrations themselves. Music by Thom Yorke, Nicolas Jaar is a key part of the process.

What importance does photography hold in architectural representations? Does it help set the scene or might it limit the viewers’ possibility to project himself in your proposal one hundred years ahead? 

Photography in architectural representation can be a very powerful material. It is a very practical way of contrasting realities with elements that probably will never be there.   Stronger effects can be achieved when the spaces we know by experience are transformed, reinterpreted or simply destroyed. There’s a part of the person that feels a personal identification with the place you are touching, even though this effect can be also achieved without the use of photography.

How do you feel the works of Archizoom and Superstudio relate to the imagery of Venice?  

In the case of Venice, there are some elements that can be seen directly from groups as Archizoom or Superstudio, as the use of the grid, very important. The fact that their projects are conceptual and radical ways of interpreting the city, the space created is fundamental, infinite, enclosed, flooded. I mostly use real images which are subsequently transformed by contrast or oppositions. But the relation with those architects does not consist in simply repeating what they did. Of course the representations and concepts that I embrace are similar, in terms of their relation to geometry (constructivism)as well as the city, but the final expression is part of a specific mood which is born out of many hours of thought where the project shapes itself as a result of the clarity of the illustration. In this sense I am strongly influenced by Barragan’s modality of work whereby he would exempt himself from touching the paper until he knew every little detail of what he would draw.

With Venice, the concept is related through the transformation of icons through geometric forms, and the water represents a fundamental element due to its enclosure. In the last days of the biennale the Piazza was flooded and the experience was amazing but for the people visiting the place was an obstacle.

‘The pool is not an obstacle, everybody likes pools’.

You talk a lot about water, nonetheless you lack to represent this within your images, or to contain it in a tank, why?

Water is a very special element, I just use it when it belongs to the space, within Venice it is used in contraposition, enclosed. The opposite happens in Habana, a city surrounded by water. If the projects I’m working in is by nature related to water, I try to use it as part of a final atmosphere, I’m not interested in doing gardens or beautiful canals. The water for the project in Spain is part of a small lake, very dirty, brown, not transparent at all. That’s the reason that moved me to put the functions under, to really feel the presence of the material, the elements out are golden, but you’ll move through them to arrive under, it a very special experience.

How is the placing of volumes within Tridimensionality orchestrated? And what importance do lines hold?     

The line is the rector element; just lines can create the desired tridimensional expression. The volumes are part of an equilibrium that can be broken or not, that’s not important. I totally believe in the ideas of Rossi when he said that if the project can be simple and legible, why to do it complex? Is not an objective to break the equilibrium, give movement to the composition or anything related. In the case of Rome, the representation is very Symmetrical, just an element transform this expression.

You mention ‘superficiality’ as a term which relates to people and monuments. In what way? And how does the use of monochrome help to reflecting this superficiality?

Its inhabitants relate superficiality with the idea of the use of the city and its monuments. It is not a phenomenon that happens just in Milan. Monuments are not for tourism, is a very superficial experience going to monuments or sacred places just to take a selfie and publish it after, even without knowing even the century oR the reason why the place-monument-etc , was built. There’s not culture in that sense, and that’s a phenomenon that increases from generations.  Monochrome represent in this case emptiness, standard ways.


Adrian Labaut Hernandez is finishing his 3rd year of Architecture at the Politecnico of Milan. He previously attended the Arts Academy Joan Miro, in Habana for two years, and Architecture, also in Habana for 4 years (equivalent to Bachelor).During his years in Habana he explored his passions for filmography and scenography and took part in the Festival of Young cinema makers with the film ‘Vincent’.cAdrian is currently undertaking two ongoing competitions realised with Degli Sposti Architetti, and two others with Anna Kononova. Whilst the work is generally by topic the last ongoing competition is centred around the relationship between the city and shapes. In the future he sees himself as establishing his own Architecture practice.


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