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

to the corresponding architect’s built work; in other cases, the commission or project is
unknown. Generally, examining the repertoire of the architect’s remaining sketches provides
insight into their style, technique, and thought processes. This interpretation is speculative
by drawing conclusions based on literary theories, art theory, and observations of the marks
they make on a surface.
Each example in this book involves the following: a short biography of the architect,
information pertinent to the sketch and the architect’s body of work, a discussion of the
physical techniques of the sketch, and an exploratory interpretation. It is hoped that the
comparison to historical context and the architect’s recorded theories will clarify and enrich
the reader’s understanding of the ‘mind and spirit’ of the physical tracings.
This book is meant to convey a history of architectural sketches. This tells a story of architects’
design images from the Renaissance to contemporary architectural practice. History
books and in fact the history of architecture can be relayed through the study of monumental
buildings, by following thought as compared to cultural and social events, by comparing differences
between regions, or by styles, to mention a few methods. This book can be read as a
history of the times, culture, development, styles, and architectural thought manifest in the
images architects use for design process. It has been envisioned as a story following a general
timeline. As a narrative starting with the Renaissance, it will provide a survey highlighting
work by prominent architects revealing developments and paradigm shifts. Compared to a
necklace of pearls, the effect can be unified and cohesive. But to extend this analogy, the pearls
(the chapters or architects) can also be appreciated individually as vignettes or snapshots of
specific movements’ or architects’ influences and techniques.
HISTORY OF DRAWING AND SKETCHING
The history of representation is probably as old as civilization itself. Humans have always
attempted to infuse meaning into the objects they observe in nature and the things constructed.
The art historian E. H. Gombrich, when discussing the origins of art, writes that
humans assembled structures to shelter themselves from elements of nature such as rain, as
well as from the spirits that controlled the natural environment (1985). These spiritual forces
were equally as potent as the environmental dangers. Gombrich concludes that for these
early humans, ‘there is no difference between building and image-making as far as usefulness
is concerned’ (1985, p. 20). He suggests that there exists a certain amount of magic involved
in representation.
The paintings in the caves of Lascaux in France, or any other wall paintings by indigenous
peoples, may have chronicled a successful hunt, told a story of heroism, or acted as a talisman
to ensure an equally good hunt the following year. Much of what remains of ancient civilizations
are the architectural monuments sturdy enough to stand the test of time. Similarly the
temporary materials of most visual communication have been lost, one exception being
paintings on the walls of Egyptian structures. As evidenced by these paintings, the Egyptian
culture had a tremendous amount of graphic language. Created with pigment on stone and
subsequently buried, these communications survived. But one may suppose that this productive
culture also inscribed papyrus, wooden pallets and stone or clay tablets to communicate
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