In an era of architectural production in thrall to the speed and potential of digital creation, the ability to hand draw, that elusive and exacting synthesis of hand, mind and eye, is slowly being eroded. Yet painting and hand drawing force the architect to envisage and imagine in a way that differs greatly from the artificiality of computer-generated imagery. Refining ideas of spatial awareness and dissecting relationships between form, colour and light, it is a highly nuanced mode of perception. Famously, Le Corbusier would paint in the morning and only turn his attention to architecture in the afternoon. Likewise, John Marx regards painting as a critical part of his oeuvre, cultivating a fertile reciprocity between buildings and art, as these watercolours eloquently demonstrate
The Absurdity Of Beauty 