
Architectural Association, 1985

Architectural Association, 1985
“His cities can simultaneously gyrate and evoke a stillness, or simultaneously offer dreamed-of futures and suggest almost forgotten ruins.”
“The Craggy Optimist, Peter Cook,”Lebbeus Woods: ORIGINS, Mega II, pp.2-4
On September 27, 1985, American architect Lebbeus Woods (1940–2012), invited by Zaha Hadid (1950–2016) and curated by Alvin Boyarsky (1928–1990), then Director of the Architectural Association (AA) in London, presented a retrospective exhibition titled ORIGINS at the institution. The exhibition featured architectural drawings, original sketches, and design models from various stages of his career. Lebbeus Woods: Origins now out of print, was originally published to accompany the exhibition. Presented in a large format of 35.5 x 27.8 cm, it became the second volume in Mega, the AA’s significant exhibition publication series in the 1980s.
The book features nearly 50 architectural drawings and sketches by Woods, organize around five architectural proposals: “Einstein Tomb,” “AEON, Four Cities,” “EPICYCLARIUM,” “Center for New Technology,” and “A CITY.” Wood’s architecture explores myths concerning time, light, matter, technology, and the cosmos. The cover image, “Epicyclarium, Entrance Elevation (Night),” embodies Woods's imaginative projection of architectural spirituality: “I attempted to construct a building within my imagination that reflects and absorbs the light of the sun, moon, and stars.” These architectural images became precursors to humanity’s evolutionary journey, integrating functions such as temples, sacred sites, observatories serving both religious and scientific purposes, radio stations, and television stations. Woods envisioned that beneath these intricate domed spaces, connected via computers and communication devices to distant locations and even outer space, a luminous tableau of humanity and the world becoming one will emerge from the swirling interplay of light and energy.
In “The Mind of Lebbeus Woods,” it is mentioned that Woods regarded the images flowing onto paper through his drawings as ideas themselves, rather than mere architectural illustrations or representations of concepts. Peter Cook (1936–), a core member of the avant-garde architectural collective Archigram in the 1960s, contributes an essay titled “The Craggy Optimist” to this volume, describing Woods's creative process as one that gazes toward the future. Through Lebbeus Woods: Origins, the architect’s first major retrospective collection, we glimpse the origins of the spatial imagination that blossomed behind Woods’s astonishing drawings.