By continuing to use the site you agree to our Privacy & Cookies policy

Your browser seems to have cookies disabled. For the best experience of this website, please enable cookies in your browser.


Your browser is no longer supported

For the best possible experience using our website we recommend you upgrade to a newer version or another browser.




There's a drawing in Deanna Petherbridge's new exhibition which at once brings to mind The Poetics of Space - it's entitled The Cellar and the Attic (pictured above). Both those rooms receive a chapter to themselves in Bachelard's book, but here they're elided spatially to be almost one above the other: the attic with waving curtains and light aring through the window; the cellar dark and housing two recumbent figures.

Some of Petherbridge's drawings depict a particular place: among them three views of the old Turbine Hall of Bankside Power Station, its machinery still intact, before it became Tate Modern. But more often the observed and the imagined are fused to create an indeterminate world in which contrary vanishing points, staircases, ladders and oblique vistas recur. The drawings are deftly executed in ink and wash: the ink depicting quite precisely the details of, say, an Indian architrave in the foreground, while the wash conjures up ambiguous depths beyond.

More than two dozen of these works, often quite sizeable, are on show in Soane's Pitzhanger Manor in Ealing, west London, until 3 March. Given certain affinities between artist and architect, this was a good idea in theory, but in practice it doesn't really come off. The drawings too often seem like intruders, with clumsy lighting, distracting reections and an often awkward installation. They're well worth seeing nonetheless ( www. ealing. gov. uk/pmgalleryandhouse).

One frequent visitor when Soane was in residence at Pitzhanger was J M W Turner - they used to go fishing together. Until 5 May the Old Kitchen at the Soane Museum in Lincoln's Inn Fields is the setting for the exhibition Soane and Turner: Illuminating a Friendship. Once more the relationship between artwork and architecture arises: Soane refused the offer of Turner's large painting of the Roman Forum, now borrowed from the Tate and on display, because 'it did not suit the place or the place the picture'. But the two friends had more than fishing in common, most obviously their interest in the effects of light: witness Turner's study of reections on some polished metal globes, and his late vision of Ancient Rome before it fell into ruin ( www. soane. org).

For forthcoming events visit www. ajplus. co. uk/diary

Have your say

You must sign in to make a comment.

The searchable digital buildings archive with drawings from more than 1,500 projects

AJ newsletters