studiosanderpatelski

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Nederland
Amsterdam
studiosanderpatelski

Architecture + Geometry + Midcentury
Limited edition art prints

06/10/2026

By the way
Le Corbusier
Was born this day

01/10/2026

Pumpin’ Ironwork 💪

27/09/2026

Casa Vicens Sans Ironwork

23/09/2026

With the tile plan finished, I’ve started adding everything that slowly turns the flat pattern back into architecture: sketch lines, shadows, highlights, the texture of the natural stone and lots of smaller details. I’ve also been spending quite a bit of time adjusting the colors and the overall atmosphere of the drawing. With every work I make, there comes a point where I try to move beyond something that feels purely illustrative. I find it difficult to explain exactly where that transition happens. It is probably a combination of color, texture, light and imperfection, but I usually know when it starts to feel right.

There are still two rather important things missing. The little angels on the balcony to the right and, most of all, the ironwork, but that will be a whole new chapter.

19/09/2026

Yes! All tiles in place.

13/09/2026

A couple images of the current state of my Casa Vicens by Antoni Gaudi

08/09/2026

Still laying tiles.

I started this drawing by making a small library of the tiles and shapes I kept encountering in the facade. Squares, triangles, flowers, chequerboards and a few more peculiar shapes. A surprisingly limited vocabulary for a building that at first glance seems quite complex.

Then it became a matter of placing them on the grid, slowly working my way down.

Spending this much time looking at a facade inevitably makes you notice things. The flower tiles, for instance, form much more varied patterns on the left than on the right. And while the right-hand part of the facade is quite symmetrically composed, the left is decidedly not (the balcony in the middle for instance does not align with the windows below).

What surprises me most, though, is just how closely the whole facade adheres to the grid. Seen straight on, in elevation, there is an extraordinary amount of order underneath all that ornament.

At this stage it is still a very flat drawing: essentially pattern, color and geometry. Most of the forward-facing tiles are now in place, so next I’ll have to tackle the parts that don’t translate quite so easily into flat patterns.

Starting with the towers.

After that there is still plenty to do: ironwork, windows, smaller details, sketch lines and eventually shadows.

So, still a long way to go.

31/08/2026

I’ve been looking at Casa Vicens for months. Maybe more than a year. Mostly wondering whether I should draw it at all.

Gaudí seems quite far removed from much of the architecture I usually draw. There is so much going on here: brick, tile, ironwork, color, pattern and ornament.

But with 2026 marking 100 years since the death of Antoni Gaudí, this seemed like a good moment to finally give it a try.

Casa Vicens can be approached from many sides (the garden facade and the interiors are extraordinary), but as I mostly do, I chose the street elevation.

The house we see today is not entirely Gaudí’s original 1880s building. It was substantially enlarged in the 1920's by architect Joan Baptista Serra de Martínez, a pupil of Gaudi, who continued the house in keeping with Gaudí’s original design.

I’m simply drawing the facade as it exists today.

Normally I begin with a rough sketch to establish the proportions of a building. This time, partly because I couldn’t find the kind of clear elevation drawings I usually work from, I started with a grid instead.

Then I began breaking the facade down into its patterns and shapes, and slowly building it from the top down.

The sketch lines will come later this time. And eventually, of course, the shadows.

This may take a while.

01/07/2026

Turns out I live in the same universe as Carmen “Carmy” Berzatto from The Bear.
Also apparently, we both, you know, like, really like, uh, drawing, um...mid century architecture

25/06/2026

Created in honour of David Hockney, this print depicts the Los Angeles home where he lived and worked during the 1970s.

The terrace of the house appears in ‘Blue Terrace’ (1977), one of Hockney’s luminous Californian paintings: an intimate view of his own surroundings. The house also had its own painted pool, part of Hockney’s instinct for making everyday spaces into images.

My drawing is a small tribute to an artist whose work made California feel both intensely observed and beautifully invented.

30x30cm - Edition of 100
50x50cm - Edition of 50
70x70cm - Edition of 25

Available at link in bio

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Amsterdam

Website

https://sanderpatelski.com/

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