Jim Kazanjian doesn’t make photographs of buildings, he makes photographs into buildings. His assemblages of “found” structures create fantastic worlds that resemble the post-civilization wreckage of 19th century England. Through the collapse of time and expansion of space, each collage tells an eerie story about making the familiar unfamiliar.
Is drawing dead? That was the burning question (and title) of last weekend’s symposium at the Yale School of Architecture, which assessed the contemporary state of drawing through three days of lectures and panels, with pen-and-paper proponents from across the architectural spectrum. This convergence of many great drawers past and present coincided with the recently opened exhibition Massimo Scolari: The Representation of Architecture, a largely drawing-based show on view through May 4 in the School of Architecture Gallery.