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.
ornament or detail, but rather the requirements <strong>of</strong> the program and the arrangement and proportions<br />
<strong>of</strong> spaces and elements (Harbeson, 1927).<br />
The group <strong>of</strong> eight was ranked and allowed to continue to the next stage <strong>of</strong> the competition. After<br />
submitting their esquisse, the students traced (or in some way recorded) the essentials <strong>of</strong> their project.<br />
They then returned to their respective atelier to elaborate and render the scheme over a period <strong>of</strong><br />
approximately three months. The formal renderings were submitted in conventional style, using only<br />
plan, section, and elevation (Egbert, 1980). The drawings were mechanically constructed abstractions<br />
<strong>of</strong> the building so that they could be easily comprehended <strong>by</strong> the jurors. The competition system was<br />
a way for the students to quickly formulate a solution to a specific program, one that was acceptable<br />
and proper according to the theories taught at the school. They were not buildable projects, in that<br />
they stressed character, proportion, and composition, with less emphasis on building materials and<br />
contemporary technology (Middleton, 1982). Character, originating with the classical tradition in art,<br />
was <strong>of</strong> three kinds: general character, not necessarily connected to the building program, meaning<br />
association with historic expression; type character, referring to the building’s type; and specific character,<br />
ideas arising from each building’s distinctive qualities (Egbert, 1980).<br />
The length <strong>of</strong> attendance at the Ecole des Beaux-Arts was indeterminate. It <strong>of</strong>ten took several<br />
attempts before a student won the Grande Prix, and the competition was open only to French citizens.<br />
Invariably, the winners returned from Rome to careers in royal service. Those who never won<br />
the Prix de Rome, as well as the foreigners in attendance, left the school when they felt they had<br />
acquired sufficient architectural knowledge to begin practice or to continue their education with an<br />
apprenticeship. All <strong>of</strong> these young architects carried into practice the Ecole’s method <strong>of</strong> both a ‘preesquisse’<br />
to find an appropriate parti, and the esquisse, which expressed the essence <strong>of</strong> the organization.<br />
Along with skills in design theory and rendering, these factors affected architects’ process for<br />
many years to come.<br />
VISIONARY/REVOLUTIONARY/RADICAL ARCHITECTURE<br />
Emil Kaufmann called the architects Etienne-Louis Boullée, Claude-Nicholas Ledoux, and Jean-<br />
Jaques Lequeu revolutionary architects (1952). He was referring not to their political stance but rather<br />
to how they expressed the ideals <strong>of</strong> the great thinkers <strong>of</strong> their century. Their objectives ‘were the<br />
expression <strong>of</strong> character, the creation <strong>of</strong> atmosphere, and the division <strong>of</strong> the composition into independent<br />
units’ (Kaufmann, 1952, p. 434). They chose to express themselves through the monumentality<br />
<strong>of</strong> form. Like Laugier, they advocated the paring down <strong>of</strong> form to basic necessity, a purism that<br />
avoided all ornament. It was believed that this simplicity and naturalness resulted in beauty. The work<br />
<strong>of</strong> these architects was distinctly reminiscent <strong>of</strong> Gian Battista Piranesi’s carceri: visions <strong>of</strong> prisons, ruins,<br />
cenotaphs, exaggerated monuments, and public works projects. Ledoux was able to build a few <strong>of</strong> his<br />
designs, such as the Saltworks at Arc-et Senans, but a large portion were disseminated primarily as<br />
illustrations for theory books. As paper architecture, these drawings were easily reproduced and distributed;<br />
as theoretical endeavors, they carried less functional responsibility.<br />
The visionary/revolutionary architect’s theoretical proposals captured dramatic perspective views,<br />
intensifying the grandeur <strong>of</strong> the architecture. Drawing techniques such as eliminating background conveyed<br />
a specific message, free <strong>of</strong> unnecessary details. Ledoux’s fantasy architecture consisted <strong>of</strong> simple<br />
geometry and primarily displayed function. He utilized perfect cubes and spheres to describe large and<br />
smooth architectural form. Boullée employed atmospheric techniques to provide a context <strong>of</strong> emotion,<br />
but his images lacked environmental context. The massive masonry façades were <strong>of</strong>ten represented<br />
from a corner with high perspective points. Strong beams <strong>of</strong> light flooding the interior spaces enhanced<br />
the dramatic effect. In contrast, Lequeu imagined decorative follies with an eclectic mix <strong>of</strong> orders and<br />
in various states <strong>of</strong> ruin. These visionary/revolutionary sketches and drawings as theoretical arguments<br />
raise particularly important issues for the study <strong>of</strong> architects’ media.<br />
72