Florian Beigel + Philip Christou
Still Life 25_171113, 2017

Giclée ink on Fabriano acid free paper
Printed 2022
42 x 29.7 cm
Edition of 50
Printed signature by Florian Beigel and Philip Christou
Hand signed and numbered by Philip Christou + certificate of authenticity

Was £180 Now: £150 (unframed)
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‘This drawing is one of my favourites of all the 'still life' drawings that Florian Beigel and I made during the past 10 years or so. It seems to be slightly stretched in the vertical dimension, and there is a magical sense of depth that goes into the page. As I recall, we had a small A4 print of one of Peter Märkli's language drawings in a frame leaning against the wall. This drawing started out as an interpretation of the beautiful rhythm of vertical lines and spaces in the Markli drawing. At one point I think it departed so far from the starting point that we turned it upside down and decided to introduce a small red figure at the bottom. In the end it began to have its own sense of spatial rhythm.’
_ Philip Christou, 2022

Florian Beigel + Philip Christou
Still Life 24_171102, 2017

Giclée ink on Fabriano acid free paper
Printed 2022
29.7 x 42 cm
Edition of 50
Printed signature by Florian Beigel and Philip Christou
Hand signed and numbered by Philip Christou + certificate of authenticity

Was £180 Now: £150 (unframed)

P&P: £15 (UK), £20 (Europe), £30 (rest of the world)

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‘Although most of these drawings were done together, sitting next to one another and discussing what to draw next, the majority of the lines are Florian's hand. He had a natural ability, as a result of a lifetime of sketching and designing with a pencil on paper, to make delicate lines on the paper that are precise, yet full of uncertainty and doubt. I was always amazed and pleasantly surprised by the way he would agree to make a line along one side of the drawing, then, in a flash of intuitive abandon he would add a line in a completely different way than I had expected. The spaces between lines that represent the fruit on the table somehow dissolve and become part of the spaces between all the lines on the page’.

_ Philip Christou, 2022

Peter Märkli
Language drawing 2302, 2000-2019

Giclée ink on Fabriano acid free paper
29.7 x 21 cm
Edition of 50
+ certificate of authenticity

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There is no hierarchy between Peter Märkli’s drawings. Each has the same status; they are ideas. They can be seen independently or together as a series – an idea or ideas in motion. Märkli states: “The important thing with these drawings is to work with elements or situations. They are for studying.” The drawings are not directly connected to Peter Märkli’s buildings. They are precursors, constituting a reservoir of forms from which he draws elements according to the buildings he is designing.

“Sometimes you have a lot of ideas but you have to wait until the point you need them. I built a building with the memory of a drawing of a façade, I think twenty years later because then the building and the situation and the landscape and all the things around needed this façade.” Peter Märkli states.

This limited edition catalogues published through Betts Project accompany the three solo exhibitions by Pier Vittorio Aureli at the gallery.

• Marriage of Reason and Squalor, 08 December - 01 November 2014

• Piccolomini, 29 September - 18 November 2017

• Synthesis and Destruction, 09 December 2021 - 27 February 2022

  
  £12 / each + £3 P&P (UK) / + £6 (Europe) / + £7 (international) / £8 (Australia & Southwestern Pacific Ocean)

  Set of three available for £30 + P&P

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• Set of 3 catalogues

• Marriage of Reason and Squalor

• Piccolomini

• Synthesis and Destruction

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Tony Fretton
Red House, 1999
Computer collage, giclée ink on paper, printed 2016,
18 x 42 cm (unframed)
Edition of 10
Signed and dated by the artist

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This drawing was a working sketch for the Red House (1996-2001), outlining the internal arrangement for the first floor lounge. With the scale of the bel-étage being comparable to that of a Dutch canal house, the room is large enough for the hanging of art works, and intimate enough for a small gathering of people. The house was designed according to the ideals of style, habitability and relations to society and nature that recur in great houses, from renaissance to modernity.

Tony Fretton is a principal of Tony Fretton Architects with James McKinney and David Owen. Buildings designed and realised by the practice include the Lisson Gallery London, Fuglsang Kunstmuseum in Denmark, which was shortlisted for the Stirling Prize, the new British Embassy in Warsaw, Solid 11, a multi-purpose building in Amsterdam, and most recently two apartment towers in Antwerp Harbour and the City Hall of Deinze in Belgium.

Fretton is a trustee of Docomomo London. His sketch books are in the archive of the Victoria and Albert Museum, and project models and drawings by the practice are in the Drawing Matter Trust collection.

Tony Fretton
GDWD, 2020
Giclée ink on Fabriano paper
29.7 x 42 cm
Edition of 15
Signed by the artist.

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Tony Fretton is a principal of Tony Fretton Architects with James McKinney and David Owen. Buildings designed and realised by the practice include the Lisson Gallery London, Fuglsang Kunstmuseum in Denmark, which was shortlisted for the Stirling Prize, the new British Embassy in Warsaw, Solid 11, a multi-purpose building in Amsterdam, and most recently two apartment towers in Antwerp Harbour and the City Hall of Deinze in Belgium.

Fretton is a trustee of Docomomo London. His sketch books are in the archive of the Victoria and Albert Museum, and project models and drawings by the practice are in the Drawing Matter Trust collection.

This limited edition catalogue published through Betts Project accompanies Zoe Zenghelis’s 2020 exhibition 'Do you remember how perfect everything was?'. The publication includes all the paintings made by Zoe Zenghelis from 1959 to 2020, one essay by Hamed Khosravi and and one by Peter Crookston.

Retail Price £12 + £3 P&P (UK) / + £6 (Europe) / + £7 (international) / £8 (Australia & Southwestern Pacific Ocean)

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Rare and original poster edited on the occasion of the first OMA exhibition in Europe in 1978.

Zoe Zenghelis
OMA in der Städelschule
Office for Metropolitan Architecture: The City of the Captive Globe
Rem Koolhaas u. Zoe Zenghelis
1978
Offset
67,5 x 83,5 cm
Edition of 100
All posters are signed, dated and numbered by the artist.

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The City of the Captive Globe Project, which Koolhaas produced with Zoe Zenghelis, focuses on New York's urban fabric: the relentlessly uniform grid that paradoxically supports a multiplicity of functions and desires. The rendering of each block as a fantastic city-within-a-city creates a virtual catalogue of OMA's self-proclaimed influences: Salvador Dali's Surreal Archeological Reminiscence of Millet's Angelus (1933–35), Le Corbusier's Plan Voisin towers, and El Lissitzky's Lenin Stand all frame the captured globe, a metaphor for Manhattan's status as an "enormous incubator of the world."

Excerpt from an essay by Terence Riley in Envisioning Architecture: Drawings from The Museum of Modern Art.

The City of the Captive Globe
Rem Koolhaas

This project is for a city which is devoted to the
artificial conception and accelerated birth of
theories, interpretations, mental constructions,
proposals and their infliction on the World. It is
the capital of Ego, where science, art, poetry and
forms of madness compete under ideal conditions
to invent, destroy and restore the world of
phenomenal Reality.
Each Science or Mania has its own plot. On
each plot stands an identical base, built from heavy
polished stone. These bases, ideological laboratories,
are equipped to suspend unwelcome laws,
undeniable truths, to create non-existent, physical
conditions to facilitate and provoke speculative
activity. From these solid blocks of granite ., each
philosophy has the right to expand indefinitely
towards heaven . Some of these blocks present
limbs of complete certainty and serenity; others
have chosen a soft environment of tentative conjectures
and hypnotic suggestions.
The changes in this ideological skyline will be
rapid and continuous, a rich spectacle of ethical
joy, moral fever or intellectual masturbation. The
collapse of one of these towers can mean two
things : failure, giving up, or a visual Eureka,
a speculative ejaculation:
A theory that works.
A mania that sticks.
A lie that has become a truth.
A dream from which there is no waking up.
On these moments the purpose of the Captive
Globe, suspended at the centre of the City
becomes apparent: all these Institutes together
form an enormous incubator of the World itself ;
they are breeding on the Globe.
Through our feverish thinking in the Towers,
the Globe gains weight. Its temperature rises
slowly. In spite of the most humiliating setbacks,
its ageless pregnancy survives.

Zoe Zenghelis
Study for the Pool, Hotel Sphinx Project, New York, 1975
Printed 2020 on the occasion of the artist exhibition at Betts Project
Giclée ink on Fabriano paper
23.8 x 21 cm
Edition of 100
Signed, dated and numbered by the artist.
+ certificate of authenticity.

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Elia and Zoe Zenghelis designed the Hotel Sphinx for Times Square, at the intersection of Broadway and Seventh Avenue, that was included in Rem Koolhaas's book, Delirious New York. It proposed an urban hotel as a model for mass housing. Each physical part of the hotel as sphinx accommodates different programmatic functions: the legs contain escalators ascending to theaters, auditoriums, and ballrooms; the two towers of the tail contain studio apartments; the neck contains social clubs; the head is dedicated to relaxation and sports; and the spine houses hotel rooms, apartments, and villas with terraced gardens. Manhattan was intended to function as an extended lobby providing all possible amenities, and, likewise, the ground floor and mezzanine were designed to draw in the city and to take on the character of the Times Square area, a notoriously seedy neighborhood in the 1970s.

Publication excerpt from an essay by Bevin Cline and Tina di Carlo, in Terence Riley, ed., The Changing of the Avant-Garde: Visionary Architectural Drawings from the Howard Gilman Collection, New York: The Museum of Modern Art, 2002, p. 142.

Zoe Zenghelis
Roosevelt Island, Night View, OMA, 1975
Printed 2020 on the occasion of the first retrospective exhibition of the artist at Betts Project
Giclée ink on Fabriano paper
14.7 x 21  cm
Edition of 100
Signed, dated and numbered by the artist.

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The Roosevelt Island Redevelopment Project, a competition entry prepared by Koolhaas and Elia Zenghelis, offers a more straightforward transformation of the city's architectural typologies. Four identical stepped blocks rise on the waterfront of the East River island. Between them run extensions of the city street grid bordered by low-rise "synthetic brownstones" with stoops, postmodern facades, and mid-block gardens. Seven monumental towers echo the dimensions of the grid.

Publication excerpt from an essay by Terence Riley, in Matilda McQuaid, ed., Envisioning Architecture: Drawings from The Museum of Modern Art, New York: The Museum of Modern Art, 2002, p. 172.

Zoe Zenghelis
Grace, 1974
Printed 2020 on the occasion of the artist exhibition at Betts Project
Giclée ink on Fabriano paper
29.7 x 23 cm
Edition of 100
Signed, dated and numbered by the artist.
+ certificate of authenticity.

Was: £120 Now: £96 + P&P

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Zoe Zenghelis did the drawing live on the top floor balcony of the The Institute for Architecture & Urban Studies in Manhattan, New York; outside the office where Rem Koolhaas and Elia Zenghelis were working on a competition that OMA had entered.

Zoe Zenghelis
City of our Choice I, 2010
Printed 2020 on the occasion of the first retrospective exhibition of the artist at Betts Project
Giclée ink on Fabriano paper
17.5 x 30 cm
Edition of 100
Signed, dated and numbered by the artist.
+ certificate of authenticity.

Was: £90 Now: £72 + P&P

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“I remember I first did the ground with a sort of perspective of pale colour plots and I wanted to put on it a city that I had in mind, more as a pattern that would attract the eye, contesting the calm shapes of the land, enriching the unreality of the dream like painting.”
—Zoe Zenghelis

Peter Märkli 
Language drawing 2108, 2000-2014
Printed 2020 on the occasion of the artist's third solo exhibition at Betts Project
Giclée ink on Fabriano 
29.7 x 21 cm
Edition of 100
Signed + certificate of authenticity.

Was £120 Now: £85 + P&P

Purchase here

There is no hierarchy between Peter Märkli’s drawings. Each has the same status; they are ideas. They can be seen independently or together as a series – an idea or ideas in motion. Märkli states: “The important thing with these drawings is to work with elements or situations. They are for studying.” The drawings are not directly connected to Peter Märkli’s buildings. They are precursors, constituting a reservoir of forms from which he draws elements according to the buildings he is designing.

“Sometimes you have a lot of ideas but you have to wait until the point you need them. I built a building with the memory of a drawing of a façade, I think twenty years later because then the building and the situation and the landscape and all the things around needed this façade.” Peter Märkli states.

Peter Märkli  
Language drawing 2301, 2000-2019
Printed 2020 on the occasion of the artist's third solo exhibition at Betts Project
Giclée ink on Fabriano 
29.7 x 21 cm
Edition of 100
Signed + certificate of authenticity.

Was: £120 Now: £96 + P&P

Purchase here

There is no hierarchy between Peter Märkli’s drawings. Each has the same status; they are ideas. They can be seen independently or together as a series – an idea or ideas in motion. Märkli states: “The important thing with these drawings is to work with elements or situations. They are for studying.” The drawings are not directly connected to Peter Märkli’s buildings. They are precursors, constituting a reservoir of forms from which he draws elements according to the buildings he is designing.

“Sometimes you have a lot of ideas but you have to wait until the point you need them. I built a building with the memory of a drawing of a façade, I think twenty years later because then the building and the situation and the landscape and all the things around needed this façade.” Peter Märkli states.

This limited edition catalogue published through Betts Project accompanies Peter Märkli’s 2020 exhibition 'Drawings and Small Tables'. The publication includes two new catalogue essays by Philip Christou and Niels Olsen & Fredi Fischli along with detailed images of his ‘language drawings’ and the painted wooden Small Tables exhibited here for first time.

Retail Price £12 + £3 P&P (UK) / + £6 (Europe) / + £7 (international) / £8 (Australia & Southwestern Pacific Ocean)

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Norwegian architectural practice Manthey Kula are widely recognised in Norway and abroad for their unique and acutely site-specific architecture which works at the intersection of art, architecture and landscape architecture

The four available prints stem from the Manthey Kula’s 2020 exhibition Postludes at Betts Project. Their postlude drawings operate as a creative endeavours to affix a new and conclusive stage to this design process by taking a more expressive exploration into form and architecture. Each of these prints departs from one of three of Manthey Kula’s built projects: Tullholmen Pier, Forvik Ferry Port, and Myrbærholmen Fishing Bridges.

Please see their exhibition page for more information and images. The prints are ink on paper and come signed and numbered by the artist.

Manthey Kula
Ink on paper
29.7 x 29.7 cm (Framing optional)
Edition of 12

Price: £150

Blind Spots, 2017
Giclée in on Hahnemühle paper
21 x 29.7 cm (Framing optional)
Edition of 24

Was: £250 Now: £200 + P&P

Architectural drawing is a strange and powerful tool. It is simultaneously a means of depiction and a way of constructing the world.

That’s why, beyond the conventions of practice, the politics of the architectural image remain so significant. The drawing is the world we construct: its own ideas of subject, its modes of representation and so on are hardwired into the worlds they depict and also become armatures of the world to come. Just as language constrains what it is possible to say, so too does the definition and nature of architectural drawings.

This is a small set of drawings from a wider exploration of the possibilities of digital culture on drawing. Often these are seamless collages made of multiple sources. But these are different. They are watercolours by Prince Charles that have had the most simple and blunt additions (or are those big black shapes erasures?).

It’s almost too perfect to resist: watercolours, landscape, Prince Charles.

Here we see a very particular vision of Britain, one whose subject, media and author are steeped in the the relationship of power to landscape, and to everything that landscape contains. The sentimental depiction, however, goes out of its way to hide these qualities: a hazy wash of nostalgia disguises the landscape. Especially when depicted by the heir to the throne, this biscuit-tin feeling for landscape is far from innocent. We have seen how destructive nostalgia for imagined pasts can be. Ill defined ‘pasts’ exclude the complexities and challenges of modernity and use false ideas of tradition and history to shape the future.

As in politics, so too in architecture. I imagine these interventions into (and/or deletions of) the Prince’s paintings as a form of architectural representation that intervenes in an idea of landscape. Blind spots and black holes puncture the scene creating visual interruptions that remain obscure: UFO‘s, monumental structures, or are they holes in the Princes’ visual field? Abstract rather than representational, they disallow the original vision, countering the sentimentality, the narrative and ideological ‘proposition’ they contain (which includes but is not limited to: a particular idea of nature, a false narrative of continuity and tradition, power ‘naturalised’ into the landscape, and so on).

– Sam Jacob

Limited edition photographic works by architect and theorist Denise Scott Brown. Taken between 1956 - 1968, this series of works revisits her early photography and represents the genesis of ideas that immortalised her as one of the most influential architects of the twentieth century.

“I’m not a photographer. I shoot for architecture — if there’s art here it’s a byproduct. Yet the images stand alone. Judge what you see.” — Denise Scott Brown

Price on request

Limited edition prints works by architectural collective Caruso St John Architects made between 1991-2016. The photographic prints offer insights into the interiors of the models Caruso St John have been making over the last 25 years. This series comprises of 61 works, 27 of which can be viewed here. For the full list of available works please contact the gallery.

“The models, and the photographs of the models are a way of getting closer and closer to an image that is already in our minds, it is about articulating all of the qualities in that image. I like the fact that in a competition one can try to communicate the concept and the atmosphere of a project in one or two such images. I would say that the preoccupation in the office is not the production of models, but of finding the image of a project.” – Adam Caruso

Editions come in two sizes.

Small: 16.8 x 21 cm, edition of 7

Price: £130 (+ shipping). Price will increase as edition sells.

Large: 42 x 53 cm, edition of 3

Price: £650 (+ shipping). Price will increase as edition sells.

Framing optional

More photographs are available upon request

Author of “On Altering Architecture” (2008), and arguably paving the way for the likes of David Chipperfield and Caruso St. John, the thinking of architectural theorist and academic Fred Scott illuminates relatively unexplored territory in the domain of architecture. His collages investigate notions of the nature of modernity, ruin, the function of copying and reproduction and examinations into the psychological and sociological aspects of transforming existing buildings.

Interior I Reversed (2016) explores the relationship between architecture and interior design; the former understood as timeless, while the latter as temporal. For more information about the work and Scott’s theory click here.

Each collage is made on demand by the artist and remains uniquely different each time.

Price: £250

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Considered on of the most important Russian architects alive today, Alexander Brodsky is an architect and former member of the Paper Architects group operating in Russia in the 1980s, whose work centred around a rejection of state sponsored architectural production of low-quality, standardised buildings.

His 2016 work Sketch was made specifically for his exhibition at Betts Project in the same year. The drawing is pigment on paper and comes signed and numbered by the artist.

Edition of 50

Framing optional

Was: £350  Now: £300 + P&P

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This limited edition catalogue published through Betts Project accompanies Sam Jacob’s 2019 exhibition Empire of Ice Cream at the gallery. The publication includes three new catalogue essays and detailed images of his latest series completed between 2011-19.

Retail Price £12 + £3 P&P (UK) / + £6 (Europe) / + £7 (international) / £8 (Australia & Southwestern Pacific Ocean)

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Printed to coincide with a solo exhibition at Betts Project 8 June — 27 July 2019

Retail Price £12 + £3 P&P (UK) / + £6 (Europe) / + £7 (international) / £8 (Australia & Southwestern Pacific Ocean)

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This limited edition catalogue published through Betts Project accompanies the 2018 exhibition Günter Günschel: Freigeregelt at the gallery, and focuses on the often under-acknowledged practice of German architect Günter Günschel (1928-2008). Together with a new catalogue essay, the publication illustrates his unique experimental computer, anaglyphic and plotter drawings from the late 1980s and 90s, and represents the most comprehensive study of this body of work to date.

Retail Price £12 + £3 P&P (UK) / + £6 (Europe) / + £7 (international) / £8 (Australia & Southwestern Pacific Ocean)

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Printed to coincide with a solo exhibition at Betts Project 6 April — 18 May 2019

Retail Price £12 + £3 P&P (UK) / + £6 (Europe) / + £7 (international) / £8 (Australia & Southwestern Pacific Ocean)

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Jacques Hondelatte (1942-2002) was a French architect who made a great impact on his generation. Little known to the general public, and mainly published through specialised journals, his works remain influential yet outside the paradigm of his peers Jean Nouvel and Rudy Riccioti, as well as his student and collaborator Lacaton-Vassal. At the Ecole d'Architecture of Bordeaux he was a professor and considered a ‘guru without dogma' according to Frédéric Druot.

Jacques Hondelatte des Grate-ciel dans la Tête was published in 2002 by Norma Editions just after his death. The 480-page spread is the most comprehensive study of his career and includes imagery and writing on all his major projects.

ISBN: 2-909283-65-8

Publisher: Editions Norma

Date: 2002

Price: £40

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