Architect Drawings : A Selection of Sketches by World Famous Architects Through History
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THEORETICAL EXPLORATIONS<br />
Postmodern philosophy has influenced the drawings and sketches used <strong>by</strong> contemporary architects.<br />
The investigation <strong>of</strong> process is being explored as the item in constant flux, and as a factor <strong>of</strong> transition.<br />
This constantly evolving mode <strong>of</strong> communication leaves open the opportunity for translation and<br />
interpretation. A movement called genetic criticism is exemplary <strong>of</strong> this thought ( Jenny, 1989; De Biasi,<br />
1989; Robinson-Valery, 1989). Investigating the rough draft as a process is not easily compared to the<br />
final product, the genetic critic must interpret the transformation <strong>of</strong> the text through stages <strong>of</strong> editing<br />
and revising. This method finds value in the unfinished remnants <strong>of</strong> the thought process caused <strong>by</strong><br />
refinement and development. Not necessarily a linear process, this study is interested in the fluid,<br />
interpretive state <strong>of</strong> the text. Recent interest in the concept <strong>of</strong> the grotesque stresses similar ideas such<br />
as transitory and constantly moving meaning, the object <strong>of</strong> the grotesque as hovering between the<br />
known and the unknown, and the paradoxical qualities that elude interpretation (Harpham, 1982).<br />
Writings <strong>by</strong> philosophers concerning deconstruction and the constantly interpretable text can view<br />
the image as fluctuating in meaning (Hans, 1980, 1981; Kearney, 1988).<br />
<strong>Architect</strong>s have always been curious about process. The transformation <strong>of</strong> conceptual inspiration<br />
into form (a building) is both elusive and magical. Difficult to define, creativity seems to appear at random<br />
in certain people. The ability to sketch and to visually represent concepts is a coveted skill.<br />
Humans are not impressed <strong>by</strong> the ability to speak, but the ability to draw may be compared to the talents<br />
<strong>of</strong> writing poetry or charismatic public speaking (Eco, 1976). From the Renaissance, prominent<br />
architects’ and artists’ skills were assigned mythical proportions. They appeared to have superhuman<br />
talents and became Godlike in their reputations (Kris and Kurz, 1979). Their ‘divine’ abilities were<br />
considered magic.<br />
Several contemporary architects have gained a reputation through theoretical investigations.<br />
<strong>Architect</strong>s such as Daniel Libeskind began his career disseminating his beliefs through drawings.<br />
These fragmented and complex drawings became visual debate. Upon becoming a common name in<br />
the architectural realm, he began to receive commissions for buildings. <strong>Architect</strong>s such as Aldo Rossi<br />
and Massimo Scolari have published fantasy drawings as a way to purport theoretical investigations.<br />
The question <strong>of</strong> the text, again referencing postmodern philosophy, may suggest the blurring <strong>of</strong> the<br />
terms architecture and architectural. The question arises whether a drawing that is architectural can be<br />
considered architecture. Since drawings and sketches can represent theory and themselves be an act<br />
<strong>of</strong> theory, it would be consistent to conclude they are representative comparable to the representational<br />
qualities <strong>of</strong> architecture (buildings).<br />
Contemporary architects are exploring the design process and conceptual thinking, utilizing new<br />
media to manipulate images in new ways. Regardless <strong>of</strong> the medium used, architects still rely on the<br />
image to evoke a dialogue. This book has explored the media techniques, uses, and meaning behind<br />
the images architects use in the process <strong>of</strong> design. Not surprisingly, the freehand examples from<br />
Renaissance architects differ little in technique with those from contemporary architects. This is primarily<br />
because most architects, contemporary and historic, use graphite pencils and ink pens to<br />
explore their thoughts. Far more differences begin to surface when comparing various movements<br />
and the architects’ educations or styles. It may be argued that the greatest development in the evolution<br />
<strong>of</strong> sketches has been the emergence <strong>of</strong> the computer. This is not necessarily true, however, since<br />
the sketches’ intentions remain constant, although the media has changed. <strong>Sketches</strong> have been and<br />
will continue to be conduits <strong>of</strong> dialogue.<br />
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