BEST Water Gallery - Miami, FL, 1981
Pen and ink on paper
10 x 37 1/2 inches, paper
17 1/2 x 45 inches, framed
BEST Scale Reference Showroom, 1978
Pen and ink on paper
14 x 17 inches, paper
19 1/2 x 24 inches, framed
Times Capsule - NY Times - MET Museum, 1999
Pen and ink wash on paper
8 1/2 x 14 inches, paper
16 x 21 1/5 inches, framed
BEST Parking Lot - Dallas, Texas, 1976
Black marker on paper
11 x 14 inches, paper
18 x 21 1/2 inches, framed
Four Corners Project Jeffersonian Grid - Indian Memorial, 1974
Black marker on paper
10 3/8 x 13 5/8 inches, paper
18 x 21 inches, framed
Izuzu Space Station Plaza - '89 Expo Yokohama, Japan, 1989
Pen and sepia wash on paper
11 x 17 inches, paper
18 x 24 inches, framed
High-rise of Homes, Identity of Density, 1985
Ink and sepia wash on paper
12 x 10 inches, paper
20 x 18 inches, framed
Goejae Hotel - Okpo-Dong Geojae City, Korea, 2010
Pen and ink wash on paper
8 3/8 x 10 7/8 inches, paper
15 x 18 inches, framed
Serpentine Pavilion, 2016
Pen and ink wash on paper
8 x 14 inches, paper
16 x 21 inches, framed
Serpentine Pavilion, 2016
Pen and ink wash on paper
10 x 16 inches, paper
18 x 23 1/4 inches, framed
Foscarini Black Light Room, 1991
Pen and ink on paper
8 x 8 inches, paper
15 1/2 x 15 1/2 inches, framed
Lady Liberty Landfill Plaza, 2017
Pen and ink wash on paper
24 x 18 inches, paper
25 1/2 x 23 inches, framed
Nature's Revenge: NYC 2050, View from Lower East Side, 2022
Ink and wash drawing on paper
12 x 18 inches, paper
18 1/2 x 24 inches, framed
Prince William County Environmental Education Center, 1995
Pen and ink on paper
10 1/2 x 19 inches, paper
18 x 27 inches, framed
Prince William County Environmental Education Center, 1995
Pen and ink on paper
17 1/2 x 23 inches, framed
Shinwa Resort Hotel, 1990
Pen and ink wash on paper
14 x 17 inches, paper
21 1/2 x 24 inches, framed
Shinwa Resort Hotel, 1990
Watercolor on paper
12 x 27 inches, paper
23 1/2 x 38 inches, framed
World Ecology Pavilion - Expo '92, 1990
Watercolor on paper
15 x 24 inches, paper
22 x 31 inches, framed
Annmarie Gardens Visitor Center, Dowell, MD, USA, 2002
Pen and ink on paper
20 x 25 5/8 inches, paper
27 1/2 x 33 inches, framed
Bedford House, Bedford, CT USA, 1984
Wash and ink on paper
13 7/8 x 17 inches, paper
21 1/2 x 24 inches, framed
Ho Jeong Cemetery - Walls + Shelters, 2009
Ink and sepia wash on paper
16 x 19 1/2 inches framed
Ho Jeong Cemetery, 2009
Ink and sepia wash on paper
11 x 16 1/4 inches, paper
19 1/2 x 23 1/2 inches framed
Geojae Hotel and Conference Center, 2009
Ink and and ink wash
11 x 15 inches, paper
16 x 21 inches, framed
Windsor Waterfront Park, 1991
Pen and ink sepia wash on paper
11 x 13 3/4 inches, paper
18 1/2 x 21 inches, framed
Windsor Waterfront Park, 1991
Pen and ink wash on paper
14 x 17 inches, paper
21 x 24 inches, framed
Windsor Waterfront Park, 1991
Watercolor on paper
24 x 36 inches, framed
Windsor Waterfront Park, 1991
Watercolor on paper
11 1/2 x 17 inches, paper
18 x 21 inches, framed
"Global warming and the future of the environment are still major issues today, and Nature’s Revenge is a response to the over-built world. Considering the complex definitions for the word ‘nature’ - now increased to include social, political, psychological, functional and ecological associations - the drawings represent an effort to comment on various aspects of meaning. Most of these graphic works come from my 2021 retrospective at the Tchoban Museum in Berlin. This earlier show emphasized nature in terms of the architectural absorption of such green elements as vegetation and topography, as well as energy-conscious uses of materials in construction. Nature’s Revenge expands on these ideas by including some buildings, public spaces, objects and posters that constitute critical and/or sardonic viewpoints on a variety of environmental aberrations. A portion of this exhibition reflects my larger commitment to what I call ‘economy of means’ as an alternative to the past fifty years of excessively expensive and environmentally irresponsible architectural scale and fossil fuel demands. Fundamentally, I believe that the ‘art of architecture’ is not embodied in lavish and prescriptive formal strategies; but, instead, in simpler, smaller and idea-based structures that ask questions. In summary, economy of means is my objective, while critical commentary is the message." - James Wines
In 1970, following extensive work in public sculpture and environmental art, James Wines founded SITE (Sculpture in the Environment) with the intention of expanding Green-design and creating new models of architecture through the hybridization of art, architecture, and design. Drawing early influence from artists and architects such as Vito Acconci, Alice Aycock, Gordon Matta-Clark, Robert Smithson, Haus Rucker, and many others, SITE considers buildings and their surroundings not as isolated objects in an environment, but as the environment itself. As such, Wines’ drawings include elements of existing structures, cultural and religious references, and local typography to advocate for an architecture that is mutable, fragmentary, and challenges formal design conventions.
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James Wines is an architectural designer, artist, and writer, with a multidisciplinary practice that includes buildings, public spaces, environmental art works, landscapes, master plans, interiors, video productions, graphics, and product designs. Educated at Syracuse University, he is the founder (in 1970) of SITE, a New York City based architecture practice. As the firm’s continuing President, he has designed and built more than one hundred and fifty architecture and environmental art projects in the USA, Italy, France, England, Austria, Spain, Qatar, and Japan. Professor Wines has delivered lectures at more than eight hundred colleges, universities, and professional conferences in fifty nine countries and written three books on architecture - including the latest, for Taschen Verlag Publishers in 2000. During the past decade, there have been twenty-two monographic books and museum catalogues produced on his projects for private, commercial, and municipal clients. Winner of twenty-five art and design awards, including the Smithsonian’s 2013 National Design Award for Lifetime Achievement and the 1995 Chrysler Award for Design Innovation, James Wines was honored in 2002 by a large retrospective exhibition at the Centre FRAC in France - jointly sponsored by Centre Pompidou in Paris and the Musée des Beaux Arts in Orleans. His graphic work has been exhibited in more than one hundred and fifty museums and galleries in the USA, Europe, and Asia. Drawings and models can be found in numerous collections, including the Museum of Modern Art, Whitney Museum, Centre Pompidou, the Louvre, Victoria and Albert Museum, Australian National Gallery, Tokyo National Gallery, and others. A recent retrospective of his drawings for SITE was exhibited at the Tchoban Museum in Berlin during 2021. Professor Wines lives in the Battery Park area of New York City. He continues to work on art and design projects, research environmental issues in architecture and write for publications internationally.