Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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Mackintosh, Charles Rennie (1868–1928)<br />
Sketch <strong>of</strong> doors for various palaces in Florence, (Contents: Florence, sketch u.l. shows door at the<br />
Palazzo della Zecca, Piazzale degli Uffizi, Florence. Sketch u.r. shows door <strong>of</strong> the Palazzo di Bianca<br />
Cappello, Via Maggio, Florence. Sketch l.l. shows the Palazzo Bartolini Salimbeni, Florence. Sketch<br />
l.r. shows trabeated forms <strong>of</strong> classical architecture), 1891, National Library <strong>of</strong> Ireland, PD 2009 TX<br />
64, 17.4 12.6cm, Pencil<br />
Charles Rennie Mackintosh was born in Glasgow, Scotland. Although influenced <strong>by</strong> Art Nouveau,<br />
Arts and Crafts, and the Vienna Secession movements, his architecture was imbued with contextual<br />
aspects <strong>of</strong> Scottish vernacular tradition. Beginning his career as an apprentice to John Hutchison,<br />
Mackintosh easily moved between graphic design, interiors, and building construction throughout his<br />
life. While attending the Glasgow School <strong>of</strong> Art he won numerous honors and was a member <strong>of</strong> the<br />
group The Four, with Margaret and Frances Macdonald and Herbert MacNair. He joined the architectural<br />
firm <strong>of</strong> Honeyman and Keppie in 1889, and in 1891 he received an award to travel to Italy – his<br />
only travel outside the British Isles. He approached this visit with the same observational and analytical<br />
gravity as his sketching trips through Scotland (Grogan, 2002).<br />
Mackintosh acquired the competition commission for the Glasgow School <strong>of</strong> Art for Honeyman<br />
and Keppie in 1897, his most celebrated project. With a small budget, on an awkward, sloping site, he<br />
designed a masonry exterior with asymmetrical façades. The relatively plain elevations reveal the simple<br />
massing, recognized <strong>by</strong> some as the first designed in the modern style (Cooper, 1978). A few <strong>of</strong> his<br />
other notable buildings include Hill House and the Cranston Tea Houses in Glasgow.<br />
This illustration (Figure 5.4) is a page from one <strong>of</strong> Mackintosh’s Italian sketchbooks. As a stipulation<br />
<strong>of</strong> the Thomson Traveling Studentship, Mackintosh was required to study classical architecture,<br />
record his findings, and present a lecture to the Glasgow School <strong>of</strong> Art upon his return.<br />
Although he rendered watercolors and completed larger drawings, the sketchbook is largely a collection<br />
<strong>of</strong> his architectural thoughts. The page displays several buildings in Florence, as if he was<br />
comparing their likenesses or differences. Very few <strong>of</strong> these sketches have been drawn in perspective;<br />
instead, he sketched parts <strong>of</strong> the building as if he was attempting to understand their nature.<br />
Analysis consists <strong>of</strong> study <strong>of</strong>ten involving the separation <strong>of</strong> a whole into its component parts for<br />
examination. Analysis also suggests drawing conclusions through manipulating or regrouping pertinent<br />
material and locating meaning in their relationships (OED, 1971).<br />
Each sketch remains unfinished, as if Mackintosh was viewing the parts to comprehend the whole;<br />
or, once he understood their structure he could avoid repeating the details. Author <strong>of</strong> a collection <strong>of</strong><br />
his sketches, Elaine Grogan explains that the Victorian sketchbook was used to understand nature,<br />
such as with a scientist’s recordings (2002). Similarly, the sketchbook was a memory device for<br />
Mackintosh to record his thoughts, but it also provided an avenue for observation and analysis. He<br />
used this sketchbook to study how decoration was applied to structure.<br />
Typical <strong>of</strong> Mackintosh’s pencil technique, this sketch is executed with minimal lines. He used a<br />
slow hand with firm and definitive marks, accentuated <strong>by</strong> hesitation and emphasizing the line’s end.<br />
Numerous slow, wavy lines show his concentration and desire to think as he was drawing. Much like<br />
his graphic work for paintings and posters, Mackintosh’s single line accentuates edges and gives the<br />
image a flat quality reminiscent <strong>of</strong> Japanese paintings and Ukioye prints (popular at the time). The<br />
placement <strong>of</strong> objects in a field creates a solid/void relationship, further defining the sketch as a<br />
graphic statement.<br />
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