Architect Drawings : A Selection of Sketches by World Famous Architects Through History

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Whitford, F. (1984). Bauhaus. Thames and Hudson. Wingler, H.M. (1969). The Bauhaus, Weimar Dessau Berlin Chicago. MIT Press. Wollheim, R. (1973). On Art and the Mind. Penguin Books. Wrede, S. (1980). The Architecture of Erik Gunnar Asplund. MIT Press. Zevi, B. (1985). Erich Mendelsohn. Rizzoli. Zhadova, L.A. ed. (1988). Tatlin. Rizzoli. 163
CHAPTER 7 MODERN AND POSTMODERN (1930–1980) It is difficult to summarize the numerous facets of modern architecture. Starting with the modern movement – whose primary figure was Le Corbusier with his social agenda – it evolved into an international style that affected architecture globally. As a movement spanning over forty years, it was not a unified style, but one filled with variations and contradictions. The concrete post and beam structures of the early years, the functionalist curtain walls of the 1950s, the exposed structure of shells and long spans all demonstrate the variety of buildings that fit under the title ‘modern.’ Many of the architects of this era were idealist, utopian, intuitive, functionalist, and interested in urban theory, prefabrication of building components, new technologies, and regional approaches. Charles Jencks insightfully calls this period a collection of modern movements rather than the modern movement (1973). However vast and diverse the architecture, the drawings and sketches by these architects reflect their belief systems, the questions they asked, the building materials they used, and the formal appearance of their buildings. This period of modern movements extended over a large part of the twentieth century and was permeated with political and social movements, World War II, global migration, and tremendous advances in technology. The world had felt the effects of the Industrial Revolution, particularly machine age construction, materials, and transportation. These developments fascinated architects such as Le Corbusier, who found beauty in trains, cars, airplanes, and ships. Modern architects rejected the ornamental excesses of previous times and found clarity in primary forms and geometric shapes. With beliefs in simplicity, the spiritual implementation of structure, and clean lines, their architecture embraced an idealistic future (Trachtenberg and Hyman, 1986). The opportunities for construction in the postwar economy did much to encourage modern building (especially corporate construction) around the world. Modernization greatly affected architects’ education, practice, and prominence. Lacking an allembracing theory, there was opportunity for cultural and regional variations within the international style ( Jencks, 1973). Many architects were educated in technical schools or institutes for arts and crafts, such as the Bauhaus. Most of them visited famous sites, to learn from firsthand observation and sketching. As they experienced these monuments (both historic and contemporary), they took home their own interpretations. Many young architects found employment with the ‘greats,’ such as Le Corbusier and Walter Gropius, and used their experiences as a basis from which to develop their individual styles. This cross-fertilization created some interesting ancestry through offices and lineage of influence. This was part of the internationalization of the international style (named for an exhibition in New York), and part of its fallacy. Although sharing some of the same ideals, when these architects returned home they evolved their own attitudes reflecting local construction techniques, regional traditions, and individual modifications. The forms may have looked similar, but many of the social ideologies had changed. MEDIA Attitudes concerning practice affected the use of drawings and sketches. Since the turn of the century, architecture was gaining attention. The populations of major cities were aware of contemporary 164
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ARCHITECTS’ DRAWINGS
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ARCHITECTS’ DRAWINGS A Selection
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CONTENTS Acknowledgements List of I
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ACKNOWLEDGEMENTS This book was supp
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ILLUSTRATIONS Figure 1.1 / Bramante
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Figure 3.3 / Boullée, Etienne-Loui
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Figure 5.7 / Lutyens, Edwin Landsee
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Figure 7.7 / Le Corbusier Plate #32
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Figure 8.9 / Gehry, Frank Process e
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INTRODUCTION Through history, archi
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with other architects or the client
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architect, and while they can be at
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necessary information. The museum o
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Although few sketches with architec
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equired precise instrumentation, as
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The Chinese and Japanese built soph
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many examples as possible. Most ske
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Coulin, C. (1962). Drawings by Arch
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CHAPTER 1 RENAISSANCE (1500-1650) T
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Simultaneously, these architects re
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products. This was particularly imp
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Bramante, Donato (1444-1514) Untitl
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da Vinci, Leonardo (1452-1519) Code
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Peruzzi, Baldassare (1481-1536) Stu
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da Sangallo, Antonio the Younger (1
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Buonarroti, Michelangelo (1475-1564
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de L’Orme, Philibert (between 150
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da Vignola, Giacomo Barozzi (1507-1
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Palladio, Andrea (1508-1580) Sketch
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Scamozzi, Vincenzo (1552-1616) Stud
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Jones, Inigo (1573-1652) Studies of
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Lowry, B. (1962). Renaissance Archi
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craftsmen up to the time of the rev
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MEDIA The materials trusted for ske
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Mansart, François (1598-1666) Alte
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Borromini, Francesco (1599-1667) Ro
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Webb, John (1611-1672) Pavilion add
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Bernini, Gianlorenzo (1598-1680) Sk
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Hardouin-Mansart, Jules (1646-1708)
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Fontana, Carlo (1638-1714) Design f
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Fischer von Erlach, Johann Bernhard
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Wren, Christopher (1632-1723) Studi
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Juvarra, Filippo (1687-1736) Stage
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Tinniswood, A. (2001). His Inventio
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Architectural theory proliferated a
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MEDIA Many media and techniques pre
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Piranesi, Giovanni Battista (1720-1
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Adam, Robert (1728-1792) House plan
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Boullée, Etienne-Louis (1728-1799)
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Latrobe, Benjamin Henry (1764-1820)
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Jefferson, Thomas (1743-1826) Monti
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Soane, Sir John (1753-1837) Sketch
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Schinkel, Karl Friedrich (1781-1841
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Pugin, A.W.N. (1812-1852) Details o
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Paxton, Joseph (1801-1865) Crystal
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Labrouste, Henri (1801-1875) Prelim
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Kimball, F. Essay and Notes (1968).
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CHAPTER 4 AMERICAN NEOCLASSICISM AN
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an architect were dependent upon re
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Richardson, Henry Hobson (1838-1886
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Hunt, Richard Morris (1827-1895) Sk
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White, Stanford (1853-1906) Freehan
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Sullivan, Louis (1856-1924) Study o
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Ferriss, Hugh (1889-1962) Crest of
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CHAPTER 5 THE TURN OF THE CENTURY E
Page 132 and 133: several of them organized a group c
Page 134 and 135: traditional dipped pens. Industrial
Page 136 and 137: Olbrich, Josef Maria (1867-1908) Sk
Page 138 and 139: Wagner, Otto (1841-1918) Perspectiv
Page 140 and 141: Gaudí, Antonio (1852-1926) Colonia
Page 142 and 143: Mackintosh, Charles Rennie (1868-19
Page 144 and 145: Loos, Adolf (1870-1933) Modena park
Page 146 and 147: Guimard, Hector (1867-1942) Design
Page 148 and 149: Lutyens, Edwin Landseer (1869-1944)
Page 150 and 151: Horta, Victor (1861-1947) Sketch of
Page 152 and 153: Ito, Chuta (1868-1954) Sketch of ga
Page 154 and 155: Hoffmann, Josef (1870-1956) Synagog
Page 156 and 157: Greene, Charles Sumner (1868-1957)
Page 158 and 159: Macaulay, J. (1994). Hill House: Ch
Page 160 and 161: CHAPTER 6 EARLY MODERN (1910-1930)
Page 162 and 163: came the design not of aesthetic ob
Page 164 and 165: Sant’Elia, Antonio (1888-1916) St
Page 166 and 167: de Klerk, Michel (1884-1923) Sketch
Page 168 and 169: Eiffel, Gustave (1832-1923) Eiffel
Page 170 and 171: Lissitzky, Lazar Markovich (1890-19
Page 172 and 173: Tatlin, Vladimir Evgrafovich (1885-
Page 174 and 175: Mendelsohn, Erich (1887-1953) Colum
Page 176 and 177: Morgan, Julia (1872-1957) Student r
Page 178 and 179: Rietveld, Gerrit Thomas (1888-1964)
Page 180 and 181: Finsterlin, Hermann (1887-1973) Ske
Page 184 and 185: architecture and, in particular, ur
Page 186 and 187: and experience in their architectur
Page 188 and 189: Asplund, Erik Gunnar (1885-1940) Ar
Page 190 and 191: Terragni, Giuseppe (1904-1943) Monu
Page 192 and 193: Yasui, Takeo (1884-1955) Japanese N
Page 194 and 195: Wright, Frank Lloyd (1867-1959) Ann
Page 196 and 197: Griffin, Marion Mahony (1871-1961)
Page 198 and 199: Saarinen, Eero (1910-1961) David In
Page 200 and 201: Le Corbusier (1887-1965) Plate #322
Page 202 and 203: Gropius, Walter (1883-1969) Lorant
Page 204 and 205: Mies van der Rohe, Ludwig (1886-196
Page 206 and 207: Kahn, Louis (1901-1974) President
Page 208 and 209: Villanueva, Carlos Raúl (1900-1975
Page 210 and 211: Aalto, Alvar (1898-1976) Preliminar
Page 212 and 213: Gray, Eileen (1879-1976) Plan, sect
Page 214 and 215: Barrágan, Luis (1902-1988) Lomas V
Page 216 and 217: Moore, Charles Willard (1925-1993)
Page 218 and 219: Smithson, Alison (1928-1993) Sketch
Page 220 and 221: Candela, Felix (1910-1997) Paragnas
Page 222 and 223: Rossi, Aldo (1931-1997) Perspective
Page 224 and 225: Isaacs, R. (1991). Gropius. Little,
Page 226 and 227: CHAPTER 8 CONTEMPORARY (1980-) In a
Page 228 and 229: THEORETICAL EXPLORATIONS Postmodern
Page 230 and 231: Agrest, Diana (1945) Sport City, De
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Ando, Tadao (1941) Preliminary desi
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Botta, Mario (1943) Studies for the
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Calatrava, Santiago (1951) Sketch p
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Chen, Shi Min (1935) Section sketch
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COOP HIMMELB(L)AU Prix, Wolf D. (19
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Correa, Charles (1930) Housing sket
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Diller, Elizabeth (1954) Blur proce
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Gehry, Frank (1929) Process elevati
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Hadid, Zaha (1950) Preliminary sket
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Hara, Hiroshi (1936) Mid-Air City s
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Hecker, Zvi (1931) Spiral sketch, 1
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Hollein, Hans (1934) Museum in der
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Krier, Rob (1938) Spatial sequences
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Larsen, Henning (1925) Sketch featu
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Legorreta, Ricardo (1931) Section s
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Lynn, Greg (1964) Preliminary explo
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Miralles, Enric (1955-2000) Prelimi
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Murcutt, Glenn (1936) Sketch plan,
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Piano, Renzo (1937) Elevation sketc
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Roche, Kevin (1922) View of Central
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Safdie, Moshe (1938) Exploration Pl
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Siza Vieira, Álvaro Joaquim Melo (
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Soleri, Paolo (1919) Drawing of an
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30. Arcosanti Foundation publicity
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INDEX Aalto, Alvar, 191 A.A. Pope R
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Christ Church Newgate Street, 65 CI
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Hampton Court Palace (Middlesex), 6
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Moore, Charles Willard, 197 Moorish
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Scala Regia, 61 scale ruler (scale
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Architect Drawings : A Selection of Sketches by World Famous Architects Through History

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