Robert Evans and Harriet Palmer take a look at Nottingham Trent University’s end-of-year show
Unified by a shared context, ‘Lavoro Milano’ (‘Milan Work’), comprises four undergraduate studio units. Each student, through a clear and refined set of three drawings, presents key aspects of a comprehensive scheme. Scope and intention are immediately accessible. Plans, sections and internal perspectives are presented via a thorough palette of techniques. There is much layering of digital media and rich illustration of human habitation.
Christopher Koutsoudes’ drawing style holds a confident clarity, while Emma Corr’s project embeds itself in spatial and historical context by means of materiality and human experience. A full complement of synoptic physical models lined the centre of the room. The most successful offer a hand-crafted glimpse into the evolution of projects. In particular, those of Liam Seaman, and a sequence by Dean Akaraonye sent us seeking their accompanying drawings.
The newly-created MArch units are also to be congratulated: ‘Intervening in the City’ led by Simon Beames and Je-Uk Kim, and ‘Making in the City’ led by Kenny Fraser and Tommaso Franzolini. A collection of ‘debossed’ relief images in particular are alluringly tactile, referencing models displayed alongside. They illustrate the potential of laser-cutting as a tool for expression, depicting projects within the immediate context of Nottingham that explore uninhibited and diverse in scale opportunities.
While more variety in scale and technique might have offered extra richness, and it holds back a little on display of development work, the consistency makes for a clear and organised collective presentation.
The opening event itself was celebratory and informal. Curated with confidence and coherence, the show allowed each drawing ample breathing space for consideration. Structured guidance was evident throughout, but ensured each offering held strong substance, each one being of ambitious scale and considered rationality.
Overall: Refreshingly refined
Robert Evans and Harriet Palmer of Evans Vettori Architects