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.
This book examines a history <strong>of</strong> architectural sketches, exploring their physical technique,<br />
comparing them to architects’ built work and speculating on how they convey architectural<br />
intention in design process. <strong>Sketches</strong>, inherently different than drawings, illustrate conceptual<br />
design thinking through architects’ personal dialogue. Tracing the development and use <strong>of</strong><br />
sketches <strong>by</strong> prominent architects reveals them to be instruments for recording, discovering,<br />
designing, communicating, visualizing, and evaluating architectural constructs. Such an exploration<br />
will provide insight into the role <strong>of</strong> sketches as mediators for the inception <strong>of</strong> architecture.<br />
DEFINITION OF SKETCHES<br />
The word ‘drawing’ presents a general term, whereas ‘sketching’ focuses on a specific technique.<br />
Both can take the form <strong>of</strong> an action or object, verb or noun, as each can imply movement.<br />
The Oxford English Dictionary defines a sketch as a brief description or outline ‘to<br />
give the essential facts or points <strong>of</strong>, without going into details.’ <strong>Sketches</strong> document the primary<br />
features <strong>of</strong> something or are considered ‘as preliminary or preparatory to further development’<br />
(1985). Historically, the act <strong>of</strong> sketching or drawing on paper involves line. At its<br />
most basic level, the production <strong>of</strong> line constitutes making marks with a pointed tool, initiated<br />
<strong>by</strong> movement and force. In reverse, eyes follow a line and with that action the ‘line’s<br />
potential to suggest motion is basic’ (Lauer, 1979, p. 151). A line, or mark, made with the<br />
bodily action <strong>of</strong> the hands, demonstrates its ability to cause reflective action, as it attracts the<br />
human eye to follow it. This cognition spurs associative thoughts, as the line suggests new<br />
forms (Lauer, 1979). Much <strong>of</strong> the ‘motion’ <strong>of</strong> a sketch comes from the physical action <strong>of</strong> the<br />
hand; in this way, the tool becomes an extension <strong>of</strong> the body and reflects the human body.<br />
James Gibson, the psychologist and philosopher, writes concerning human contact with a<br />
drawing and suggests that making marks is both viewed and felt (1979). The ‘gesture’ <strong>of</strong> this<br />
intimate participation with a sketch gives it meaning and individuality.<br />
The control <strong>of</strong> a hand on the drawing tool yields not a consistent line, but one that is<br />
varied, thick or thin. The quality <strong>of</strong> the mark is important, since individual lines produce association<br />
in the minds <strong>of</strong> architects. Gibson believes, in company with philosophers such as<br />
Aristotle, that it is reasonable to suppose that humans can think in terms <strong>of</strong> images (1982).<br />
Conversely, but consistent with his theories <strong>of</strong> visual perception, there cannot be vision<br />
without the cognitive action <strong>of</strong> thought.<br />
<strong>Sketches</strong> can be analogous for actions that do not involve a mark on paper. For example, a<br />
quick skit <strong>by</strong> a comedian may be deemed a ‘sketch,’ although it does not involve the mark on<br />
a surface. Thus, a sketch may be defined <strong>by</strong> its preliminary and essential qualities. <strong>Sketches</strong><br />
may also comprise three-dimensional actions preliminary to architecture, such as the fast<br />
‘sketch’ model, or be conceived <strong>of</strong> digitally as a wire-frame massing in the computer. In such<br />
ways, the intention takes precedence over the media. How sketches act to assist design thinking<br />
designates their value.<br />
As these definitions imply, sketches are notoriously imprecise; valueless physically, and<br />
seen as a means to find something or communicate rather than as prized objects in and <strong>of</strong><br />
themselves. They are usually, but not necessarily, loose and lacking in detail. Some architects<br />
make simple but precise diagrams, while others may use sketches purely for communication<br />
2