Exploring the Potential of Raw Lines

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Exploring the Potential of Raw Lines

Office of Adrian Phiffer 


Who influences you graphically?
Aby Warburg, archiveofaffinities, Daft Punk, Es Devlin, Google Images, Valerio Olgiati, Dogma, Rem Koolhaas, Ravi Kamisetti, Nima Javidi, Umberto Eco’s “On Ugliness”, Gerhard Richter’s “Atlas”, Takashi Murakami’s “Superflat”, El Croquis, Tom Emerson, Adam Caruso’s ETH Design Studio, Miroslav Sik, John Heartfield, Stanley Kubrik, Philipp Schaerer, Tom Ngo, Aldo Rossi, John Hejduk, O. M. Ungers, Shirin Rohani, Karl Friedrich Schinkel, Giovanni Battista Piranesi, Baukuh, Hieronymus Bosch, Sergison Bates, Enric Miralles, Peter Markli.

How would the use of colour influence the line drawing and change its perception?
A line drawing that needs colour, it’s a weak drawing. We try to avoid colour.

What is the purpose and effect of including shadows within the two dimensional drawing?
In our case, it is purely functional. Most of the time, if not all the time, it is the outcome of a competition submission requirement. The effect is just a better understanding of the implication of the design intentions.

What is your work process for line drawings?
We build our drawings. We draw a line, than another one, and another one, and another one … It’s a process of construction.

Have you ever thought of post producing the plans in photoshop to turn them into eccentric art pieces?



The Town of Dikermark

“There comes a time when you look into the mirror and you realize that what you see is all that you will ever be. And then you accept it. Or you kill yourself. Or you stop looking in mirrors.”

-Tennessee Williams

Dikemark’s urban composition is a unique example of an era that tried to achieve efficiencies without losing sight of aesthetics; the simple repetition of a series of well-designed architectural objects in a natural setting. However this balance between the built form and the natural form no longer works in favour of the city. The landscape is cluttering the city.

The city is not visible enough, is not experienced enough, and of course, is not being used enough. The value of the architecture is not properly staged and the city should be decluttered to showcase its building. That includes the landscape and also the city’s spatial organization. The site needs to be emptied of trees to become a plain canvas for the built form and to open up the view of the city laying against the hill.

The old structure of the city which was the main road connecting to the city center needs to be revised since it creates hierarchy in terms of location and access. The removal of that road and transformation of one of the secondary roads to main arterial access introduces homogeneity for all of the buildings. It also drives the traffic inside the core of the city giving every single building a chance to be contemplated and admired. It

expedites the conversion of land use and program and opens up all of the buildings for the public use. There are pedestrian accesses traversing the slopes from the shore line all the way to the mountains, connecting the water to the plazas, to the main road, and to the pedestrian pathways in the mountains.

The abandoned buildings of the city, once reflecting an image of a city at the verge of an urbicide, now would be filled by various public programs and would attract people even from neighbouring cities.

Maybe the new Diekemark is the image of the old city reflected on a broken mirror.

Office of Adrian Phiffer is practicing design. Its approach to the practice is rational and irrational, reasonable and unreasonable – a purely creative process. Every decision made is driven by instinct. We like it. We don’t like it. We don’t know. In that way, there are no predefined products. The outcome is completely unknown. And it produces bizarre creatures that we often don’t understand. But it’s different. And authentic.

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Birmingham Centenary Square

The proposal aims to compensate the current lack of spatial continuity by adding a new arcade and extending the existing pavement over the entire site area. Where the arcade introduces a new perimeter, the pavement emphasizes the major longitudinal axis of the plaza and links the north and the south sides of the square, currently divided by Broad Street. As a platform, the uniform ground pattern connects the two sides without introducing any curbs.

In addition, the new arcade provides a multitude of functions: it is a shelter, an infrastructure for temporary exhibitions and activities, and acts as support for lighting and wind mitigation. The existing artifacts: Baskerville Type Face, the New Birmingham Family, Matthew Boulton, James Watt and William Murdock, will be retained and relocated inside the new arcade. The beautiful brick tapestry by Tess Jaray will be retained as well.

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Continuity of the Parks

“D-Day” has arrived for Pampushout; the day of occupation. This is not a surprising action. Everything has been dreamed and planned long time ago: “Almere 2030 – 400.000 inhabitants, 6 urban districts, new connection by bridge with Amsterdam”.

Because of the envisioned “straight lines of poplars”, Pampushout’s inhabitants will be “living in the woods”. The temptation will be so great that the designer will not resist re-organizing, re-standardizing and re-civilizing the Dutch forest. People will definitely “live in the woods”.

The unexpected, the unplanned is missing everywhere, and therefore the sublime sentiment of discovery.

In the year 2007 the extension of all cities is quietly transformed into a suburban action. In the case of Almere: streets with berms and roundbonds that perfectly avoid intersection of pedestrians and bicyclists with vehicles; expected safety with no pleasure. This project is not an alternative answer to the current growth of Almere, but a reaction to it.

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Philip Glass Violin Concerto 2

Green movements, environmentalists, economists, even the average house wife, we are all dealing with the same issue: efficiency. But we tend to get used to certain ways of being efficient and apply them to every situation. Therefore, we are being efficient in the same way, in different contexts. The metropolitan way of being efficient implies density and stacking of different programs as much as possible. But when it comes to a lively agricultural land beside a SUBWAY!, what would be the efficient planning?

We felt a strong urge to be medieval. It was a communal feeling. We wouldn’t call it neo-medieval. It was just medieval; a primal sentiment of unawareness. Maybe it happened because of the metropolis? The truth is that we could not stand it anymore. We simply felt sick with the metropolis.

We decided to leave the metropolis and take the best of it: the amnesia. It was amnesia because when it occurred, we didn’t have the modern sentiment of starting all over again, from scratch. There was no progressive feeling in our attitude; just plain medievalism, almost barbarism. It was relieving not to remember anything, or better not to know anything.

Everything became clear once we found ourselves in the middle of Tiefes Feld. Its smells and colors, did not sparked in us any nostalgia, or the stupid emotion of living in the middle of the nature. This all belongs to the metropolitan man. It just made us think about survival. How to divide this land among us? How to grow food and still have some space for living? How to be public, but also private? How to make the elders happy, and the youths excited?

We knew that our metropolitan way of thinking was just over complicated. And in the beginning thinking as a medieval man was not that easy! We needed to forget all our metropolitan stacking habits and just be purely practical.

This became our main goal:”not sacrifice practicality and simplicity for our own design orgy! “ No gambling on the future and no hyper technological devices to save some energy, no massive construction. We tried to be light and flexible instead. Our response to our starting problem ended up being “simply responsive”. A subway beside an agricultural land ended in a mixture of two practical pattern, row houses and farm lands! The combination may be new. But each component in itself has historically proven to be efficient.

And, finally, we asked ourselves: ”if a medieval man knew how to build a subway, wouldn’t he build it beside his farm?”

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Red is Green

The proposal imagines the site as a composition of hallways and rooms, and reintroduces primal principles of architecture and urbanism to Greater Noida. It emphasises the use of local materials, and aims to create a space that is at the same time embedded within its cultural context and rich in its appearance.

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The Carnival needs a route and many participants. A Carnival is a public celebration and parade combining elements of circus, masks, and public street parties. If one is to understand it not only as a temporary ludic event, but also as a way of organizing disparate parts that otherwise would never come together, the Carnival could be a fascinating planning and architecture design concept.

Despite its sheer ordinariness, the immense advantage of considering Sari-Myeon as the site for the 10th Korean Rural Architecture Competition is that there are two sites. This configuration opens up the potential for establishing a route in-between the two proposals that could become a vector for activating a larger zone of Sari-Myeon. The new Junior and Senior Centers need to do more work for Sari-Myeon than just simply becoming futile attractions, they must resurrect an idea of village life. The project starts from this premise.

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Urban Apparatus

The proposal is as much a building for the future school of arts, architecture and design, as it is an urban strategy to move people through the site. Mimicking Otaniemi’s core formal composition, the studio  imagined thin / long buildings, almost as simple extrusion of desire paths, which will conduit people though the site, from one end to the other.


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Office of Adrian Phiffer is practicing design. Its approach to the practice is rational and irrational, reasonable and unreasonable – a purely creative process. Every decision made is driven by instinct. We like it. We don’t like it. We don’t know. In that way, there are no predefined products. The outcome is completely unknown. And it produces bizarre creatures that we often don’t understand. But it’s different. And authentic.


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