Architect Drawings : A Selection of Sketches by World Famous Architects Through History
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Lutyens, Edwin Landseer (1869–1944)<br />
Design for Viceroy’s House, RIBA, Lutyens [58] 73, Graphite on paper<br />
Edwin Lutyens was born in London; his family moved to the countryside <strong>of</strong> Surrey when he was a<br />
child. After attending the South Kensington School <strong>of</strong> Art, with little education in architecture he<br />
began to work for the architect Ernst George in 1887. Leaving to start his own practice in 1889, he<br />
began with small domestic projects.<br />
Peter Inskip, in David Dunster’s collection <strong>of</strong> essays on Lutyens, writes that Lutyens’ architecture,<br />
especially his country houses, replicated historical imagery and was influenced <strong>by</strong> the work <strong>of</strong> his contemporaries,<br />
including Richard Norman Shaw (1986). Incorporating elements <strong>of</strong> the vernacular, these<br />
domestic projects reflected the Tudor and classical baroque, some with castle-like romantic references.<br />
Building for newly rich Edwardians, Lutyens designed smaller estates that evoked manor houses <strong>of</strong> the<br />
previous century. Many <strong>of</strong> these houses displayed axial and processional siting, employing long drives<br />
and dramatic vistas. A distinctive feature included the extension <strong>of</strong> the house externally into baroque,<br />
geometrically organized gardens (Dunster, 1986). Some <strong>of</strong> his more celebrated house projects include<br />
Ednaston Manor, house and farm buildings for W. G. Player; Marshcourt, a house for Herbert<br />
Johnson, and Gledstone Hall, a house for Sir Amos Nelson.<br />
Lutyens designed governmental projects in India between 1912 and 1939 and held the position <strong>of</strong><br />
chief architect for the imperial capital at New Delhi, collaborating on the layout <strong>of</strong> the city with<br />
Herbert Baker. Concerning the design for the Viceroy’s House in New Delhi, he felt it necessary to<br />
build with English classical proportions but adapted it to the regional climate (Irving, 1981).<br />
These study sketches (Figure 5.7) for the Viceroy’s House express techniques typical <strong>of</strong> Lutyen’s<br />
design process. On folded grid paper, this page seems to have been approached from all sides, suggesting<br />
that he rotated the paper, looking for the next available space to continue his exploration.<br />
The page is comprised <strong>of</strong> partial plans, preliminary elevations, details and perspectives. Lutyen’s pencil<br />
techniques reveal how he handled the various aspects <strong>of</strong> the building with a certain analytical<br />
evenness. Evidenced <strong>by</strong> the fact that each sketch has been studied with similar size and amount <strong>of</strong><br />
detail. Lutyen’s needed to quickly refer to a three-dimensional view; so fast, in fact, that the windows<br />
were rendered as thicker marks. Other parts, such as the plans, were slow and deliberate, as he made<br />
small changes in reaction to what he was perceiving. This displays both his comfort with the media<br />
and how easily the sketches conveyed necessary information. The graphite technique shows relatively<br />
small consistent lines delineating an amount <strong>of</strong> realism. It is as if he had much <strong>of</strong> the general form <strong>of</strong><br />
the building in mind and was working out the specific look for the project. His sketching skills were<br />
highly developed, which is expected considering his father’s occupation as an artist. His belief in the<br />
role <strong>of</strong> sketches surfaces as he delineates every aspect <strong>of</strong> the building, down to doorway details and<br />
connections. Without erasures, the pencil seems to be an extension <strong>of</strong> his hand as he moved easily<br />
between views. It appears that he sketched as fast as he could imagine or make decisions. The sketches<br />
represent the same stage <strong>of</strong> development and reference, both inside and out. They are executed with<br />
primarily the same line weight, since he did not stop to change media or test a finished solution. They<br />
reveal his concentration while drawing, evaluating what he imagined in three dimensions viewing the<br />
building in its totality. Not at all restrained, he was deeply engrossed in a dialogue with the sketches,<br />
pondering and reworking, while reacting to their communications.<br />
129