Betts Project is pleased to present four artists and architects whose drawings together operate in and outside of the usual modes of architectural representation and converge with the domain of visual art: Günter Günschel, Pier Vittorio Aureli, Peter Markli and Florian Beigel. German artist Günter Günschel (1928-2008) worked on the margins of architectural conventions to develop unique processes of drawing. The Freigeregelte series of black and white line works (1990-1991) were drawn using a computer controlled plotter which was deliberately manipulated with magnetic fields to make the plotter’s pen deviate from its pre-planned course and produce a graphic disassociated from the original programme. The work of Italian architect Pier Vittorio Aureli (1973) departs from an interest in ‘non-compositional architecture’. Entitled The Marriage of Reason and Squalor, these obsessively hand-drawn ink and pencil works explore how a multitude of geometric forms can emerge from the perimeter of a single quadrilateral form. The pastel drawings of Swiss born architect Peter Markli (1953) are, in their simplest form, ideas — “The sketch is the germ of an idea, with no detail in it.” These works are not directly connected to Märkli’s buildings but remain precursors, constituting a reservoir of forms from which elements according to his planned buildings are drawn. Working with pencil on greasy kitchen paper, the practice of German and Canadian duo Florian Beigel (1941) and Philip Christou (1956) focuses on the ‘space which lies between.’ For instance crevices, gaps, intervals and emptiness are all important subjects when thinking about ‘architecture as city,’ where the void constitutes the potential coexistence of two entities.