The project aims to document, digitize, and analyze the archival materials and works of Rita Wolff. She entered the realm of architecture through her then-partner Léon Krier by painting some of his projects in 1977. Ever since, she has been a provocateur and harbinger of a new architectural culture. Her paintings extend far beyond the realism of a place and a time. They are symbolist quest for reality of an authoritative world and a search for the artistic means for its reconstruction. They show us a world that oscillates between compassion and melancholy. Despite her unique contributions to the profession her work as an artist in her own right, remained less known, if not uncredited. Although she had a couple of joint-exhibitions at Max Protetch Gallery and Centre Pompidou, but her solo exhibition at the Graham Foundation in 1986 could be seen as her declaration of independence.

Hamed Khosravi is an architect, writer, and educator. He studied architecture in Tehran, holds a master’s degree from TU Delft and Università Iuav di Venezia, and earned his PhD from the City as a Project program at the Berlage Institute and TU Delft. He teaches at the Architectural Association School of Architecture in London and Swiss Federal Technology Institute of Lausanne (EPFL). His practice develops research-led curatorial projects, such as Zoe Zenghelis: Fields, Fragments, Fictions, cocurated with Theodossis Issaias, for the Carnegie Museum of Art (2022); Revolution Begins at Home, cocurated with Roozbeh Elias-Azar, for the Sharjah Architecture Triennial (2019); and The Architecture of Fulfilment, cocurated with Francesco Marullo and Amir Djalali, for the International Architecture Exhibition, La Biennale di Venezia (2014). Published works include Do You Remember How Perfect Everything Was? The Work of Zoe Zenghelis (AA Publications, 2022) and The Elusive Modernist: Gabriel Guevrekian (Hatje Cantz, 2020).

Rita Wolff is a self-taught artist. She was born in Luxembourg and graduated as a translator. In 1973, she moved to London. Three years later, she began drawing and doing watercolors of dreams—her own and those of her friends. As an enthusiastic cinema-goer, Wolff gave film titles to some of her paintings, i.e., The Men who knew too much, Heaven can wait, Witnesses for the Prosecution, and One Flew Over the Cuckoo’s Nest. She also did watercolor illustrations of architectural projects by Leon Krier and her work has been published in numerous magazines, especially AD (Architectural Design) and Archives d’Architecture Moderne. In February 1996, Wolff was offered artist in residence position in Seaside, Florida. This stay allowed her to do oil sketches of sea and sky in all possible weather conditions and times of day and night.