Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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Jefferson, Thomas (1743–1826)<br />
Monticello: mountaintop layout (plan), Before May 1768, Massachusetts Historical Society,<br />
N61; K34, 22.8 36.9cm, Ink, with a few additions, much later, in pencil<br />
Although able to conceive <strong>of</strong> a building’s design through drawings, Thomas Jefferson may be considered<br />
an amateur because <strong>of</strong> his lack <strong>of</strong> formal education or an apprenticeship in architecture<br />
(Norton, 1977). Considered the United States <strong>of</strong> America’s first architect, Jefferson’s education was<br />
classical and included the study <strong>of</strong> law. Known for his extensive library, Jefferson owned works <strong>by</strong><br />
such authors as Vitruvius, Alberti, Palladio, Scamozzi, De L’Orme, Stuart, and Gibbs. He also acquired<br />
volumes concerning the practical aspects <strong>of</strong> building such as Halfpenny’s Practical <strong>Architect</strong>ure and a<br />
builder’s dictionary.<br />
America’s architectural style had been a Georgian derivation called colonial, until Jefferson instigated<br />
the federal style (Trachtenberg and Hyman, 1986). With his political stature, holding the <strong>of</strong>fices <strong>of</strong> both<br />
Secretary <strong>of</strong> State and President, he was able to influence the style <strong>of</strong> building for the new Capitol in<br />
Washington. Jefferson designed few projects in his lifetime; the campus <strong>of</strong> the University <strong>of</strong> Virginia,<br />
and the Capitol building for the state <strong>of</strong> Virginia, based on the Maison Carrée in Nîmes (Guinness and<br />
Sadler, 1973). The building <strong>of</strong> his home, called Monticello, became his most recognized architectural<br />
achievement. This hilltop estate references Palladio with a Greek temple façade and a central octagonal<br />
dome perched atop the symmetrical one-story brick structure.<br />
Of the drawings <strong>by</strong> Jefferson housed in the Coolidge Collection, many are studies in the unforgiving<br />
medium <strong>of</strong> pen and ink. They appear diagrammatic in nature, due to their preparatory and simplistic<br />
quality. Wall thickness has been represented with single lines, unlike the heavy poché and nuance<br />
<strong>of</strong> detail and materiality found in drawings <strong>by</strong> Borromini, for example. As an architect with little construction<br />
experience, Jefferson studied classicism through model books to produce his designs.<br />
This page (Figure 3.5) is a freehand planting plan for the grounds surrounding Monticello. Several<br />
areas have been erased and redrawn throughout the decision process. A single line describes the<br />
house while the proposed driveways are dotted without guidelines. Notes on the page prescribe the<br />
mathematical calculations for the site’s geometry. The most interesting aspect <strong>of</strong> this page is Jefferson’s<br />
notes to himself for both the location <strong>of</strong> the trees and the identification <strong>of</strong> their species. The simplicity<br />
and use <strong>of</strong> words give this sketch its diagrammatic quality since diagrams typically provide the<br />
most pertinent information while omitting the superfluous.<br />
The semicircular row <strong>of</strong> trees noted as Lilac, Persian Jasmine, and Daphne has instructions whose<br />
wording follows the curve. From this one may speculate that Jefferson was intending to be absent at the<br />
time <strong>of</strong> the trees’ planting; therefore, he needed to identify clearly their types. If this diagram was<br />
indeed meant to instruct workers, it would be unlikely that they could calculate the actual geometries<br />
per his notational instructions. As a diagram to document his thinking, it was limited <strong>by</strong> Jefferson’s ability<br />
to render trees with enough detail so as to identify their species. Especially in plan, the trees would<br />
appear quite similar no matter how competent his rendering skills. It might also be suggested that he<br />
would be available for the planting and the purpose <strong>of</strong> the diagram was for his own reference. Studying<br />
the organization and symmetry <strong>of</strong> the different species could best be accomplished <strong>by</strong> recording their<br />
positions. The sketch could assist Jefferson to plan ahead, ordering or digging the trees before location.<br />
He may also have identified the trees knowing that when the work began, their location and identification<br />
could be confusing. The purpose <strong>of</strong> the sketch, then, was not to visualize the aesthetic qualities<br />
<strong>of</strong> the composition but rather to act as a memory device and a document to organize the planting.<br />
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