Who painted Design for the Olivetti Training School, Haslemere?

Design for the Olivetti Training School, Haslemere was painted by James Stirling in 1969.

Where can I see Design for the Olivetti Training School, Haslemere?

Design for the Olivetti Training School, Haslemere is held by Victoria and Albert Museum.

Artwork

Design for the Olivetti Training School, Haslemere

James Stirling , 1969

Design for the Olivetti Training School, Haslemere is a drawing by James Stirling. It dates from 1969 and is held in the collection of the Victoria and Albert Museum. The work is an axonometric architectural drawing that depicts the Olivetti Training School as seen from the north.

About this work

Overview

The work is an axonometric architectural drawing that depicts the Olivetti Training School as seen from the north. Executed in pencil, pen and ink with colored crayon accents, the image presents a longitudinal, low‑rise structure with a glazed central corridor linking two residential wings.

Subject & Meaning

The composition emphasizes the building’s functional layout: a transparent spine unites two blocks whose façades alternate between yellow and grey panels. Sections of the cladding are deliberately omitted, revealing the underlying structural framework and suggesting a dialogue between interior and exterior.

Technique & Style

Nicholson’s original hand‑drawn rendering was traced by Barbara Littenberg at the request of architect James Stirling. The drawing combines precise line work with a modest color key—black, gray, blue, and yellow—while selective erasures of ink indicate on‑site revisions during the design process.

History & Provenance

Created by Robin Nicholson while serving as job architect, the drawing was later refined under Stirling’s direction and bears his signature. It now forms part of the Victoria and Albert Museum’s collection, documenting an intermediate stage in the school’s design development.

Context

The Olivetti Training School project reflects mid‑20th‑century modernist concerns with modular construction, transparency, and the integration of educational facilities. The alternating panel colors and exposed structural elements align with contemporary explorations of material honesty and visual rhythm.

Artist & collection

Artist

James Stirling

James Stirling carried a big red sketchbook everywhere and drew buildings like they were alive—parts leaning, colors clashing, rooms that felt like a surprise.