26 June 2015 • Posted by Trevor Flynn
Chris Eckersley’s drawings of the Pazzi Chapel in Florence remind me of that obsessive itch you feel when you are in a space, trying to figure out what makes it achingly beautiful. Trained initially as a sculptor, Eckersley here records the combined harmonious proportions that Brunelleschi had, in his day, adapted from his study of ancient buildings in Rome. Go to www.chriseckersley.co.uk to read the painstaking way Eckersley installed himself in the Pazzi chapel with a tape measure and sketchbook, measuring, surveying and converting Brunelleshi’s Quattrocento “brachia” to metres. Much the same pursuit that Leonardo demonstrates in his sketchbooks, drawing here is a way of owning the building. Eckersley has a seasoned hand, the result of over 40 years sketching, used here as the primary research that feeds a design sensibility. In place of the lethargic use of the iPhone, the micro and the macro observational sketches chart the marshalling of sensations; drawn on a need-to-know basis.