Architecture: Sketch > Drawing > Design | Folasade Akinsanya by Sade Akinsanya

architecture: sketch > drawing > design. Folasade Akinsanya Brian Hatton

Foreward

Introduction

Keywords to note

1. The History of The Architectural Drawing

2. Pencil & Paper

3. Drawing As Language

4. The Art of The Sketch

5. The Architect & His Sketchbook

Case Studies

i. Chris Wilkinson

ii. Nigel Coates

iii. Discussion

109

Conclusion

111

Appendix

115

Final Thoughts

132

Bibliography

135

List of Illustrations

145

Contents

Acknowledgements & Thanks

Fig 1.1

This dissertation would not have been possible without the help and guidance of my tutor, Brian Hatton, who is due many thanks for his continued kindness, patience and utmost support during my research and my writing. I’d also like to thank Nigel Coates for his warmth and enthusiasm during the interview process, it was much appreciated and has encouraged me to put pen to paper and record my surroundings on a daily basis in my Moleskine. I’d also like to thank Chris Dove for his helpfulness in regards to this undertaking, his swift responses, and ultimately how inspiring his work has been to me.

Acknowledgements & Thanks

I’d also like to thank my friends and family for their continued support and encouragement. Lastly I’d like to thank Dr Stephen Bowe for his inspiration and assistance during the process of writing.

“These are Winsor & Newton travelling brushes which fold out, and when they’re wet, they go to a perfect point” Chris Wilkinson 6

Fore ward. 8

The act of designing may be complex and often personal; but if architecture stems from an idea, that idea is generally presented through a series of sketches, on paper or in models. This study will examine the practices of sketching, drawing and drafting and the transitions made through them in the course of designing. It will consider how that process itself may often contribute to a final design, and reflect on the continuing importance of the sketch in the digital age. Upon finishing this piece of writing, please watch the supplementary film included.

Fig 1.2

â&#x20AC;&#x153;It was the drawing that led me to architecture, the search for light and astonishing formsâ&#x20AC;? Oscar Niemeyer (Luongo, 2012).

Introduction

This research project has been split into five interlinking chapters, which provide an in depth exploration into the following topics; Architectural Drawing: A Brief History, which concisely delves into methods of architectural drawings across history, from The Renaissance to The 21st Century. Pencil & Paper, which defines and highlights different types of architectural representational techniques, from drawing to sketching and explaining key definitions to words that will come up again and again in this piece of writing. The chapter will also briefly touch on the mental connection between the brain, the hand and the paper, comparing and contrasting the two main methods of architectural representation; the hand drawing and the computer drawing, and analysing the pro’s and con’s of both. Drawing as Language, looks at the role drawings play in the realm of architectural communication, exploring how the drawing works as a type of language. The Art Of The Sketch, which probes ideas concerning the sketch as a place where ideas are born and later shaped with an analysis of sketches. Lastly, The Architect & His Sketchbook, which provides an extensive look at pages from architecture sketchbooks universally, detailing how and why they are used with an in depth study of the works of Chris Wilkinson and Nigel Coates.

It was Carlo Scarpa (Fig 1.3) that once said, “My architecture is done with the architect’s medium which is drawing and drawings only” (Forty,2000), greatly reflecting the significance that drawing has had in the realm of architecture over the centuries. Drawing is inevitably where Architecture begins, and the final structure, where it ends, with architecture evolving from a scrawling sketch upon a piece of paper, to a towering spectacle in the centre of London, and as architects and architecture students, we draw, we sketch, and we create in order to process the wealth of ideas constantly swimming around our heads and one could argue that without drawing, architecture could not exist as the two are so intertwined. Rarely do we explore the connection between sketches, drawing and the final built design, particularly with the changes that the profession has experienced over the past decade, and although a lot has been written about the apparent decline in manually drawn architectural drawing, not much has touched on the relationship between drawing and the final design and what comes in between these two stages. And what about the importance of sketching and drawing itself? Is the distinguished drawing still a pertinent and pronounced phase of architectural design? Simply put, this piece of writing aims to uncover why it is that architects draw, the thought process behind their drawings and how these pieces of work inform the final design, exploring architectural drawings from across history. 12

Fig 1.3

Keywords to note

Drawing noun draw·ing \ˈdrȯ(-)iŋ\ 1 : an act or instance of drawing; especially: the process of deciding something by drawing lots  2 : the art or technique of representing an object or outlining a figure, plan, or sketch by means of lines (Merriam-webster.com, 2016)

A brief analytical dictionary of the following keywords are listed below:

Illustration noun il·lus·tra·tion \ˌi-ləs-ˈtrā-shən also i-ˌləs-\ 1 a : the action of illustrating : the condition of being illustrated b archaic : the action of making illustrious or honored or distinguished  2 : something that serves to illustrate: as a: an example or instance that helps make something clear  b : a picture or diagram that helps make something clear or attractive (Merriam-webster.com, 2016)

Diagram noun di·a·gram \ˈdī-ə-ˌgram\ 1 : a graphic design that explains rather than represents; especially: a drawing that shows arrangement and relations (as of parts)  2 : a line drawing made for mathematical or scientific purposes (Merriam-webster.com, 2016)

Draft

Sketch

noun \ˈdraft, ˈdräft\ 1a : delineation, representation b : scheme, design c : a preliminary sketch, outline, or version <the author’s first draft> <a draft treaty> (Merriam-webster.com, 2016)

noun \ˈskech\ 1a : a rough drawing representing the chief features of an object or scene and often made as a preliminary study b : a tentative draft (as for a literary work) (Merriam-webster. com, 2016)

THE HISTORY OF THE ARCHITECTURAL DRAWING 01.

The History Of The Architectural Drawing Historically, architects have used visual imagery as a form of supporting the design process, â&#x20AC;&#x153;Such imagery has assumed the form of construction documents, design drawings, analysis and details, various forms of sketches, and images conceived in the minds eyeâ&#x20AC;? (Smith, 2005), and the history of drawing goes back as far as time can tell. Humans have used drawings since the dawn of time, for example The Parietal Art of the Palaeolithic period (38,000 BCE) was used to inform and record, and although styles of drawings have changed today, the purpose and intention, largely has not.

The Renaissance period cultivated many changes in the way architecture was perceived and drafted, and “Attitudes towards sketching as a mode for exploration distinguished the Renaissance from traditional medieval practices” (Smith, 2005). The Renaissance was also the period in which architects became seen, as more than just draughtsmen, and Vitruvius’ ‘Ten Books of Architecture’ was a catalyst for this as it reinforced the idea of architects as people of diverse knowledge and it helped to elevate the profession from simple draughtsmen to dignified architect. Leon Battista Alberti’s treatises on architecture such as ‘De Re Aedificatoria’ were also important as they explored innovative ideas on form, shape perspective and drawing. Filippo Brunelleschi, who is widely considered as the world’s

Fig 2.1

first architect, used methods of projection as a means to explore construction ideas and detailing for reference as seen in his drawing for ‘The Machine’ (Fig 2.1), And although Brunelleschi’s final structure often seemed modest, they were generated using a fundamental classification of ratio’s and proportions, “Brunelleschi often began with a unit of measurement whose repetition throughout the building created a sense of harmony.” (The Met’s Heilbrunn Timeline of Art History, 2002), and through his drawings, the meticulous work that was undertaken in order to generate the conclusive scheme is clear.

Drawing and sketching became a common media for recording, evaluating, and understanding thus becoming the basis for creative undertakings in the Renaissance period, and it was through the act of drawing, that evolutions in graphic projections were established. Thus in the late Renaissance, a standard was set for architectural sketches at the time, encouraging them to be used as a method of intelligent thinking, and not just of artistic expression and the sketch emerged as a stimulant for increasingly creative concepts The sketching and drawing styles from the Renaissance were roughly similar but each architect had their own personal graphic style with how they represented concepts and buildings, Leonardo was said to have had an exploratory and analytical style and his sketches contained the quality of reflection as he was attempting to understand through viewing, whilst others such as Da Sangallo (Fig 2.2) and Vignola used the sketch as a means to work out buildings and test details. Palladio used the pencil and paper to explore 3-Dimensional space using sketchy and rapid perspectives to help him envisage form.

Fig 2.2

The baroque period experienced a greater prevalence in drawing than the renaissance due to a lack of dependency on the rules of proportion which led to greater freedom in sketching and drawing and “A desire to express the more emotional states of architecture, and describe secondary endeavours such as theatre set design encouraged architect’s visual communication” (Smith, 2005), but the rise of the Theatre, and it’s immediacy significantly affected Baroque styles of architectural drawing, “Theatrical pageantry required both quick conceptual sketches and limited construction drawings” (Smith, 2005), and Baroque architects continued to view sketching as a means to an end, for design and communicative purposes. There is no doubt that the sketch was a generally accepted phase in the design process. The architects of the Baroque period found that sketches were functional in their design resolution in innumerable capacities, from the search for form, to presentations and appraisals with a patron, their sketches showed increasing confidence in the new media present such as graphite, and sketches gained wider acceptance and were being used for diagramming, calculating geometries and communicating to draughtsmen. Architects such as Francois Mansart show the increasing confidence in sketching during this period, particularly in his ‘Alterations to the Hotel de la Baziniere’ (Fig 2.3) illustrating the notion of thinking through drawing with the various sketch options overlapping one another with notes intended to illustrate and inform.

Fig 2.3 24

With the turn of the eighteenth century came the esquisse, or the rough drawing, however Smith notes that the esquisse “was not the loose first thoughts of a sketch, but a rough rendered drawing that conveyed the essence of the solution” (Smith, 2005) meaning that esquisse essentially became a solidified sketch, but not quite a finished drawing, whereas the pre-esquisse was a series of rougher drawings or transitory abstract studies. The pre-modern and early modern brought about changes in representation once again, with architects sketching in perspective, plan, section and elevations, unhindered by the orthographic projection practices of the beaux-arts. “From the 18th century on, we can watch as drawings change the thickness of line to reflect that of evolving print media; adopt colour codes for materials; take on the oriental isometric and axonometric projections and weave them into 19th-century schooling; use coloured crayon, magic marker, strips of mylar; build in photographic elements as montage; take cues from film to sequence their narratives and from animation to people them.” (Olsberg, 2013) The 19th and 20th century brought about more expressionistic ideology in terms of buildings and this was reflected in the works of architects such as Charles Rennie Mackintosh (Fig 2.4) and Edwin Lutyens (Fig 2.5). Fig 2.5

Fig 2.4 26

Fig 2.7 Now in more modern times, computers are a remarkably fundamental part of the architecture world and it’s now almost impossible to work without using them in some capacity during the design process. Computers are used to simulate what a possible building can look like to scale, quickly generate images of how a structure could look on site as realistically as possible, to analyse structural elements and so much more, but due to the increase of computer aided design, there is now also such a thing as a computer based ‘sketch’ in the sense that it is a computer based conceptual representation, “If a sketch is defined as being preparatory to something else, and also consists of simple forms similar to an outline, then these digital images may indeed be viewed as architectural sketches” (Smith, 2005). The beauty of computer sketches is that they are quick to produce and fairly easier to manipulate and edit from concept to the final design, however for many architect’s, the computer does not allow for the relationship between the hand and the paper to flourish, something that is explained in detail in Juhani Pallasmaa’s ‘The Thinking Hand’. Architects such as Steven Holl (Fig 2.6) have resisted the urge to use computers in their preparatory work, but harness more traditional methods of drawing and pass on more tangible drawings to their employees once the building or space has been resolved by hand for them to then translate into a computerised piece of work, Holl say’s “You have it all in your mind. And then your mind and your hand make an intuitive mark on the page. That’s the beginning of a concept, for a huge project” (Metropolismag.com, 2013). On the other hand, architects such as Zaha Hadid, use a mixture of drawings (Fig 2.7), computer aided design (Fig 2.8) and even paintings as a way to search for form and begin to shape the design.

Fig 2.6

Fig 2.8 28

02.

PENCIL & PAPER

Pencil & Paper Drawings hegemony over architecture has changed radically over the past century or so, with pivotal revolutions in representational techniques over the years, particularly with the computer moving into offices and homes, allowing for rapid, more refined productions of architectural drawings that can be sent from person to person within the blink of an eye, but hand drawing’s preliminary role in architectural design still remains fairly unscathed, but how important is this initial sketching and drawing process, and how does it inform the final design? A brief analytical dictionary of the words; ‘Diagram’, ‘Draft’, ‘Drawing’, ‘Illustration’ and ‘Sketch’ are listed at the beginning of this piece of writing due to the critical nature of understanding the differences between each key word, for example the drawing and the sketch are two different methods of representation, the sketch is something that is preliminary and is considered to be rough, whereas the drawing is said to be a more polished and thorough version of the sketch, but is often attributed to a collection of lines on a piece of paper.

Before looking at drawings themselves, it is important to note that there are also a few different types of architectural drawings, with the main types of architectural drawings being; Drawings of Architecture, Drawing for architecture, and Drawing for presentation. It is important to note that each type of drawing differs widely, but each is just as essential as the other. Drawing on a whole is a wholly indispensable tool; “It is a visual recording of our thoughts at a certain moment” (Linescapes, 2013). And in the realm of architecture, it allows us to think about two-dimensional spaces in the third dimension and through drawing “We collect a visual library of forms, that we can later use consciously or subconsciously in our design” (Linescapes, 2013) allowing one to shape the final design in ones mind, with tweaks along the way.

Fig 3.1 From the Client, to the Architect, to the Paper, to the Computer and then to the Final Design.

There is a distinct difference in the act of drawing for a building and the act of drawing a building. Drawing for a building is a much more rigorous process architecturally speaking because an architectural working drawing is exactly that. It is a drawing that is used to convey certain morsels of information, the architectural sketches and drawings for a building allow the idea to come from a client, to the architect, from the architects mind, to the piece of paper or surface that he or she is sketching on, as a way to inform the client, this sketching and drawing process is then repeated over and over again until a more detailed and defined piece of architecture emerges. Robbins and Cullinan explain in “Why Architect’s Draw” that “when used to realize a subjective idea as a built object, drawing becomes as much a practical, objective, and social instrument of the material production of a building as it is a conceptual, subjective, and cultural representation of an architectural creation” (Robbins and Cullinan, 1994), a rough sketch of the architectural design process is illustrated in Fig 3.1. 35

Robbin Evan’s explains in his essay, ‘Translations from Drawing to Building and Other Essays’ that “Drawing in architecture is not done after nature, but prior to construction; it is not so much produced by reflection on the reality outside the drawing, as a productive of a reality that will end up outside the drawing.” (Evans, 1997) and James Wines’ lamentations on the changes in architectural representational techniques, idea makings and productions in his article ‘Mind and Hand: Drawing the Idea’, are thought provoking as he bestows praise on the sketch process as an enabler for schemes: On innumerable occasions over the years, I have been the creative beneficiary of my own graphic musings and the chaotic trail of ambiguous images left behind by random charcoal smudges and watercolor washes. In a variety of miraculous ways, this pictorial detritus, hand-drawn on paper without any predetermined architectonic mission, has often become the springboard for new ideas. (Wines, 2011) Illuminating how the sketch often produces ideas as it works as a means of thinking and solving design problems. One cannot have a discourse about architectural drawing without noting the relationship between the brain and the hand, and the way the thought process guides the design. The relationship concerning the brain and the hand is a complex and interesting one, and as Wines touches on above, in the laborious development of concepts and ideas, the hand often takes the lead in probing for some sort of vision and that vague inkling is often the facilitator that brings forth more interesting visions and ideas. 36

Pallasmaa explains in ‘The Thinking Hand’ “Sketching and drawing are spatial and haptic exercises that fuse the external reality of space and matter, and the internal reality of perception, thought and mental imagery into singular and dialectic entities.” (Pallasmaa, 2010), he also says “A drawing is an image that compresses and entire process, fusing a distinct duration into that image. A sketch is in fact a temporal image, a piece of cinematic action recorded as a graphic image.” (Pallasmaa, 2010). The difference between drawing by hand and drawing by computer, is that with the computer we input what we want through a series of graphical codes or numbers and the end product is often a clean, sometimes sterile drawing, which of course is useful in it’s own way, but it is very difficult to emulate the often personal and somewhat emotional process of idea making that hand drawing provides through the means of a computer.

DRAWING AS LANGUAGE

03.

Drawing As Language

“Idea > Drawing > Building > Experience > Language”

(Forty, 2000)

The procedure summarized in the diagram begins with the client telling the architect their wishes, then the architects ideas are broken down into drawings, and then from the drawings a building is erected, once the building has been erected, one can experience the spaces, and from this people can begin articulating their experiences through spoken words, written texts, or even drawings or photography (Forty, 2000). But one obvious fault of the diagram that Forty points out, is that “Language is present not just in the final stage, but at every preceding stage too: the client tells the architect what is wanted; the architect does not only draw the building, he or she describes it variously to the client, to other architects, to regulatory authorities..etc.”(Forty, 2000) In the conventional view of the first half of the architectural process, language is considered as a secondary effect, it is supposed that first comes the drawing, then we talk about it and what it represents, but this cannot be true, because for one, many architects such as Peter Cook, drawing and talking are not so distinct, “You have your pen out and say, ‘Well it could be this or it could be like that and, by the way, if you know such and such a building’ to your client or student … Then you draw a little bit of a reminder and you progress from that into something else..”.(Spankie, 2009)

Verbal language itself is a well versed tool in architecture and whilst drawing and sketching can be used as a vehicle to express and solidify ideas, drawing can also be used as a strong means of communication. The relationship between language and drawing can be complicated as we often add words to our drawings, particularly in the office and university setting, Robbins and Cullinan write that “drawing provides a conventional basis with which architects can communicate with others in the social production and materialisation of a design” (Robbins and Cullinan, 1994), although in architectural settings there are project reviews and critiques, but lesser importance is assumed to verbal speech in architecture, as drawing in itself, is a language, and a language that is universally acknowledged and fairly well understood, transcending the boundaries of dialogue and semantics. The textual diagram to the left sums up the ‘conventional’ view of the process of architecture, providing one with an opportunity to discuss the various activities that make up the practice of architecture.

In many cases architects do not regard drawings alone as an adequate projection for their work, and some write abundantly to give in words what a graphic or drawing cannot describe. Philip Webb, a 19th century architect made disparaging comments about architectural drawings claiming, â&#x20AC;&#x153;the ability to make picturesque sketches was a fatal gift to the architectâ&#x20AC;? (Lethaby, 1979), and on his own drawings wrote many instructions on intended finishes and effects. You can see from the image that Philip Webb, in common with many architects, included verbal instructions on his drawings. This drawing for an oak carving at Clouds House 1884 (Fig 4.1), carries an extended discourse on the relationship of drawings, words and the resulting work. The sketch has been made to particularly indicate the desired effect intended (Fig 4.2).

Fig 4.2

Fig 4.1

Fig 4.3 There is something that bridges the gap between language and architecture and that is The Sketch. The fluidity of a sketch allows the architect to project ideas and evoke a discussion unlike the solidness of an architectural rendering or floor plan. Forty says, “We might perhaps see in greater value attached to the architectural sketch in the course of the twentieth century an attempt to render drawings more language-like.” (Forty, 2000). The sketch bridges the gap between something static and something fluid in the sense that it is in fact both. Frank Gehry (Fig 4.3) is a good example of an architect who uses the art of the sketch to record the evolution of his artistic thoughts and therein lay the beauty of a series of sketches as opposed to one intricately detailed drawing or illustration of a building. Gehry says “As soon as I understand, the scale of the building and the relationship to the site and the relationship to the client, as it becomes more and more clear to me, I start doing sketches” (Kiser, 2015). The sketch works as a projection of psychological space that is continuously unfolding and changing. It encourages discussion and feeds language, because of this, whereas a final drawing simply magnifies what it represents, depending on what the drawing is, it can open up a discussion, but through the sketch we begin to understand the architect’s thought process and it works as a continuously unfolding timeline of thoughts, ideas, trials and errors, and it is this process that can speak volumes without the architect even needing to say a single word.

Drawings work as language particularly in the realm of the office or even the architecture studio, the director may sketch up a quick idea and pass it onto an employee to look over and in more modern times, aim to resolve it using computer aided design, this design is then brought back for review and is tweaked, again and again through more sketches to delineate this and that. The sketch works as a highly important tool in these settings because it allows the ideas and thoughts from one persons head to be quickly and efficient shown to another and vice versa. Some reasons why Architects use drawings together with language and not just language on it’s own are that drawings are fairly exact in their meaning, whereas language on it’s own can be vague and misunderstood.

It is said that drawings as a whole are easier to understand than language, as the saying goes “A picture speaks a thousand words”, but that this is not always the case, for example in the case of orthogonal drawings and more complex projections that require the viewer themselves atomised into a thousand particles suspended in space before the drawing. Language on the other hand places a lesser demand upon a person in the sense that words can carry no illusions, a conversation between people about a drawing, or a piece of art, or a building can be just that. With language there is potential for change, whereas with a drawing it has already been made permanent on paper, but at the same time drawings evoke ideas, thoughts and provokes dialogue, which is in itself language, and a language that transcends the obvious limitations of verbal speech.

A recognised feature of language is the distinction between metalanguage and the object language, between what words signify and the field of meaning that gives one the power to communicate in a given language. For example If one read out seemingly random words such as shoe, kettle, coffee, flower, they would make no sense, but if one had said beforehand that the series of words are a poem and one read them out again with a different diction, “shoe, kettle, coffee, flower…”, one would follow the words with more eager hearing. Whereas a drawing is there for one to unfold. Language is spoken is a linear sequence one after the other, whereas drawing is presented all at once for you to look at. In that sense, a building can be compared to language in the way that they too cannot be experienced all at once, and in a way the bold presentation of a drawing makes it easier for one to digest, language can be tricky to explore, but drawing is universally easier to understand. 48

THE ART OF THE SKETCH 04.

The Art of The Sketch The art of the sketch will explore what exactly constitutes as an architectural sketch and will tackle the differences between an artistic sketch and an architectural one; “The sketches contain the genetic code of the final work, as the keeper of the infinite potential, of all that might have been. They are footprints of the design process which is a non-linear procedure, dominated by elements that are often unconscious and difficult to objectify.” (Kuma, Serrazanetti and Schubert, 2013) This is where the importance of the sketch comes into play, without the sketch, there is virtually no concept or idea, and without a concept, there is no architecture. This chapter will explore architect’s sketches from The Renaissance up to contemporary times.

Baldassare Peruzziâ&#x20AC;&#x2122;s study of a Sepulchre in Uffizi (Fig 5.1) is an interesting piece to look at in regards to studying how the architectural drawing has largely remained the same for hundreds of years. The ink and wash sketch drawing expresses a rough three-dimensional analysis of a sepulchre drawn in freehand as evident from the crooked lines and varying stroke thicknesses, and the lines themselves are quickly drawn with stronger lines indicating possible shadows and solidness, allowing Peruzzi to bring his ideas for the sepulchre alive immediately.

Fig 5.1

Fig 5.2

Joseph Paxton’s Crystal Palace Proposal (Fig 5.2) sketch on blotting paper is a good example of an idea or concept captivating an architect and the architect having a need to sketch out the said idea instantaneously to fully comprehend it. Paxton had sketched the image to the left on blotter paper whilst in a meeting, and the ink blots suggest him working at a slower pace whilst the ink seeped into the paper, and unlike Peruzzi’s study, Paxton’s sketch has more defined lines, and the drawing is relatively resolved, highlighting that this was a strong idea, that Paxton may have already explored. Interestingly enough, this drawing is fairly similar to the final product except for the flat roof’s, which according to Smith (2005) can be explained by understanding his previous conservatory projects.

Michel de Klerk’s sketches for the ‘De Dageraad’ Housing Complex (Fig 5.3 and 5.4) are a series of concretised sketches juxtaposed against what one could imagine to be rough ideas that he needed to test out on paper. One’s eyes are drawn to the top right of the page (Fig 5.4) where we see where de Klerk began to concretise his ideas for De Dageraad through the confident ink outline and colour added to it, whereas the rest of the drawing feels unresolved, but the beauty of this particular sketch is that it encapsulates the turning point in which de Klerk’s probing becomes the resolution.

Fig 5.3

Fig 5.4 58

Erich Mendelsohn’s sketches for The Columbushaus (Fig 5.5), much like Michel de Klerk’s for De Dageraad, one can see the refinement of an idea and as one’s eyes travel down the page, one can see a sense of culmination in regards to Mendelsohn’s contemplations concerning the façade of the building. Mendelsohn’s technique starts off as urgent, as if in a rush to get the idea from his mind to the paper, then it gradually becomes more and more obdurate in it’s portrayal, with the lines becoming stronger and straighter, as opposed to the loose flowing sketches at the top of the paper, and it seems that once an image reached a certain level of conclusion, he assessed it and then moved onto the next, continuing until the image matched the concept in his minds eye and felt more resolved.

Fig 5.5 60

The sketches for Frank Gehryâ&#x20AC;&#x2122;s Disney Concert Hall in California (Fig 5.6) are reminiscent of Mendelsohnâ&#x20AC;&#x2122;s in the sense that both are frantic with an underlying buzz of energy running through them, and one can almost imagine Gehry sketching feverishly, pen in hand, without leaving the page, only to explore one elevation after another, and although this sketch was probably a personal one, rather than one to relay information, it works as a great way to inform of premature concepts in the search for form, and it allows the architect to envision the building using a phenomenological development rather than just a pragmatic one, and this then translates into the final building which is much calmer than the sketch but bursting with the same vigour and animation.

Fig 5.6

Fig 5.7 One very interesting sketch to note is that of Elizabeth Diller’s Blur Process Drawing (Fig 5.7). It is amusing to see what looks like a coffee or tea stain to the upper left hand side of the napkin, indicating that it was most probably done in a meeting or in a rush. There is a sense of quick urgency, and maybe a light bulb moment of sorts, with a list of the potential qualities for the structure such as ‘colourless’, ‘spaceless’, ‘white-noise’, allowing us an insight into the brainstorming process. It is interesting to note, that this ‘sketch’ is comprised mostly of strong words, with what looks like a cloud, with a stem joined onto a strong dividing line, emphasising the strong concepts behind the scheme and, “as a conversation the diagram assisted to understand the words and the form (or formlessness)” (Smith, 2005), again emphasising Forty’s earlier remarks about drawing and language working hand in hand in the realm of architecture, and the need to occasionally add verbal commands to the sketch in order for it to be processed and understood, particularly during the preliminary stage, such as this.

Alvaro Siza is well known for his expressive style of architectural sketching with pages and pages of overlapping design ideas, each one inciting more concepts, until Siza is content with the solidified result. Siza’s sketch for the Santa Maria Church and Parish Centre Marco de Canavezes (Fig 5.8) in Portugal is a good example of his design process. It is a sketch that illustrates a study for the façade, form and routes of the building, emphasizing how the building sits on the site and works with it’s surroundings; Siza’s sketches allow him to design from a human perspective. Roughly done with light strokes and overlapping lines indicating it to be more of an exploratory sketch just to explore what his ideas will look like on paper rather than a finalized drawing. Siza wrote:

Fig 5.8

Siza’s work reflects his ideas on architecture and drawing saying, “There are two different words in Portuguese that mean ‘to look’ and ‘to see and understand’ (olhar and ver). The tool of the architect is to see.” (Arcspace, 2012)

For the architect, drawing is a work tool, a form of learning, assimilation, communication and transformation: it’s a method used in the design process.The architect also has other tools available but nothing can take the place of drawing without leading to negative consequences. The ideation of an organized space and the calculated approach taken to the existing situation and what one hopes to achieve there are all filtered through the intuitions that drawing feeds instantaneously into the most logical and agreed upon constructions, thereby nourishing them. Every gesture that we make – including drawing – is charged with history, unconscious memory, and incommensurable and unknown wisdom. Drawing should be practiced so that our every gesture, and everything else, does not become atrophied. (Abitare, 2011).

Fig 5.9

Zaha Hadidâ&#x20AC;&#x2122;s sketches (Fig 5.9 and Fig 5.10) of the Spiral Tower in Barcelona is a brilliant example of how the sketch can sow the seeds that lead to a strong form. From the sketch on graph paper, one can see what are two distinguished tower like figures, both done in pen, with one outlined in what could be black ink or watercolour suggesting one is to be at the forefront of the other, or that the one that is more heavily outlined is the one to be focused on. When we look at the final resolved design, we can quite clearly see refinement in ideologies, with one side of the building as a large spiralling tower reminiscent of the sketch, and the other part of the building almost dissolving into the context, allowing for a better human â&#x20AC;&#x201C; building interaction scale.

Fig 5.10

THE ARCHITECT & HIS SKETCHBOOK 05.

The Architect & His Sketchbook After analysing what exactly constitutes as a sketch, this chapter explores what architects themselves think of the act of sketching and drawing in relation to the final building. The sketchbook itself has changed over the course of the centuries, from the distinguished and expertly drafted building details from Andrea Palladio of the 16th century, to the expansive illustrative and energetic drawings of Frank Gehry, there is no doubt that the sketchbook and architect have gone hand in hand for centuries, but The Victoria ans Albert Musuem say: â&#x20AC;&#x153;Sketchbook can be a misleading term. It implies a collection of freehand drawings of buildings (or other subjects) made with pencil, pen, watercolour or any other portable medium. Sketchbooks are often more than that though - they are record books with both freehand and scaled drawings, sometimes combined with notes as well, and now often with photographs.â&#x20AC;? (Vam.ac.uk, 2015)

The relationship between architects and their sketchbooks is

Narinder Sagoo of Foster + Partners briefly explores his relationship with architecture in the forward of Architects’ Sketchbooks saying, “For me, the process is often more fascinating than the end result, and at the heart of architecture, which is part of the process of building worlds, lies the language of drawing.” (Jones, 2011). Whereas Eva Jiricna of Eva Jiricna Architects says that she doesn’t sketch to make a beautiful drawing, but instead to resolve ideas and goes on to say:

Fig 6.1

an interesting one, and while some architects prefer to work on loose papers, others take a particular joy and interest in keeping a sketchbook. Chris Wilkinson says that like many other architects he “Carries his projects around in his head” (The Royal Academy of Arts, 2015) and he explains that one of the great things about the sketchbook is that “you can carry it around with you, and you don’t have to plug it in, you just need a pencil or a pen and you can work through the processes in your mind” (The Royal Academy of Arts, 2015)

“I sketch all the time, I am surrounded by endless amounts of A3 and A4 size pads. I am constantly trying to resolve problems and details. I have a necessity to know what a detail looks like - how the materials come together, how it works in three-dimensions. If I draw it for myself, I understand it. If I try to imagine it, it is too whimsical. Sketching is a tool - an extension of one’s brain.” (Vam. ac.uk, 2015). Jiricna’s sketch for her Lavka Bridge in the Czech Republic (Fig 6.1) is a good example of the way in which she uses the act of drawing to unravel knots in the design process and test out ideas quickly and efficiently. The office works in a similar way, using quick sketches to illustrate ideas and create a dialogue for the design.

Peter Eisenman compares the act of drawing and reading, in the sense that in order to do both, you must use the mind and the hand: “To me, drawing and reading are the same thing. I can’t read on the computer. So when someone draws something on it, I print it so I can draw over it either with tracing paper on it or without it. You cannot make a plan in the computer by connecting dots. You have to think about a diagram or what it is you are doing. You have to think in drawing.” (Architectural Review, 2013)

Fig 6.3

Drawings for the infamous ‘Falk House’ (Fig 6.2) show the progression of concepts as Eisenman drew, the final building (Fig 6.3) despite being labelled as ‘unlivable’ is still a good example of the progression of ideas. Eisenman explains, like many architects believe, that it is fundfametally impossible to think through a computer, as a computer simply works as a means of inputting information, “Drawing is a way of thinking. I can’t think or write ideas on a computer. I don’t type on a computer. I write and if you look at my desk, it’s full of paper. So to me drawing is a form of writing, and a form of reading what I write. I don’t see any difference. To me drawing is not making pretty things or making representations. It’s not representing anything; it is the incarnation of the thing.” (Architectural Review, 2013)

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Like many in the 21st century Eisenman voiced his concern for the act of drawing in architecture, musing on the lack of drawing in studio’s and in offices: “Architects and architecture students today have lost the essential capacity to think through drawing. They can only think through a computer. I watch people in this office sitting and looking at these things on their screen as they roll them around in space, and I think to myself: what the hell are they doing?” (Architectural Review, 2013). In short, for Eisenman, the act of drawing is critical and simply cannot be duplicated with technical means, and perhaps it is this critical act that allowed Eisenman to successfully undertake such a project as Falk House, it’s difficult geometric nature would have meant that Eisenman would have had to work diligently through sketching to really understand each space in both a phenomenological sense and a practical sense.

Fig 6.4

Fig 6.5

Chris Dove, a former an Architecture student at Liverpool John Moores University, whose sketches and drawings have amassed him a huge online following, explains in an e-mail interview as part of primary research for this piece of writing that: “Drawing for me has always been a way of expressing myself, when talking or writing isn’t enough. Even if I’m in the pub with friends I’m drawing on napkins and arranging pint glasses in a way that resembles what I’m talking about. I think it’s about understanding, and trying to get a complete image from somewhere in the back of your mind in to reality. It’s really not a pretentious or complicated thing, it’s quite simple really. It’s just about being able to fully explain something in your mind, through your hands. I think drawing is a fantastic way of articulating this.” (Dove, 2016) One can see from Dove’s sketchbooks that for him the drawing process has been polished over years and years of hard work, trial and error. Each study is imbued with his signature touch of Copic marker colourings, detailing, and thin line work and one can really sense the process of Dove drawing to cognize, to discover routes, understand details and grasp the workings of sections such as in Fig 6.4 and also in Fig 6.5 to the left where we can see Dove using drawing as a means to study and understand an interesting facade he came across during his travels to New York. The dotted lines may signify movement, transparency or even perspective.

Fig 6.6 Fig 6.7

Dove also comments in relation to the computer versus the hand that: “In relation to architecture, I think when you’re drawing out an idea, however sketchy or accurate you’re trying to be, there is sensitivity to using your hands. It can help you explain an idea much clearer than if you are illustrating it purely on a computer. You’re not restricted by any of the set tools of CAD programs, and so the drawing on paper is much closer to the original idea in your mind.” (Dove, 2016). Dove also explains that drawing is key to not just the initial design stage, but should be implemented throughout the entire design process, “I believe you should always draw, particularly in the latter stages of designing buildings. Thinking through sketching about how buildings are made, and how materials work with one another is incredibly important to detailing and construction.” (Dove, 2016).

Fig 6.8

Citing architects such as Sigurd Lewerentz (Fig 6.7) and Alvar Aalto (Fig 6.8) as inspirations as they, “practice a homogeneous approach to drawing, from the initial ideas of a project, right down to the finest details.” (Dove, 2016) Dove’s stance on the act of drawing in architecture is particularly noteworthy as he is a millennial or part of ‘Generation Y’, one would have assumed for the younger generation of architects and architecture students that the computer would be considered the easiest method of working as it significant piece of equipment in this era of computer generated imagery and building information modeling.

Fig 6.9

“I really like the idea that drawing is not the purely poetic art that people believe it to be. Some of the most beautiful architectural drawings I’ve seen have been from architects like Sigurd Lewerentz and Alvar Aalto, thinking about the detail and construction of architecture.” (Dove, 2016)

CASE STUDIES: Chris Wilkinson Nigel Coates

Chris Wilkinson Chris Wilkinson is a celebrated British architect, known for his internationally renowned practice, Wilkinson Eyre Architects, which is one of the UK’s leading British Architectural practices. The Royal Academy of Arts exhibited dozens of Wilkinson’s sketchbooks and drawings (Fig 7.1) that he had kept over the years, and these sketchbooks, and the adjoining published book alongside it make for a highly valuable look into the mind of an Architect who has lived through the 20th and 21st century and has witnessed the digital awakening of the architecture world first hand. For Wilkinson, the fundamental act of drawing is a major key to designing and he expresses that “When an architect is designing, he draws what he is thinking and the drawings are part of the creative process. They provide information about the design that can be translated into built form” (Wilkinson, 2015). An exhibition visit as part of primary research for this research proved highly stimulating, and it was the ‘Thinking through Drawing’ exhibition that led to a more in depth focus on Wilkinson’s work.

Fig 7.1

Fig 7.2

For Wilkinson, the sketchbook is not just a place to create aesthetically pleasing imagery, but a place for him to order his thoughts, gather information and develop well thought out design responses, and his design strategy begins with site analysis, with him really understanding the site and its context, then he moves onto a series of brief sketches in which he explores ideas, and “these early drawings may lead somewhere or may trigger a thought process for discussion with other members of the team” (Wilkinson, 2015), and although Wilkinson stresses that Wilkinson Eyre as a practice is highly computerised and at the forefront of technology, (The Royal Academy of Arts Podcast, 2015) he still works using pen and pencil. Many use pencil and paper as a way to jot down ideas quickly as a 3D representation rather than with words and Wilkinson is no different, he describes his sketch work as “rough perspective and axonometric sketches” (Wilkinson, 2015) because for him, it’s simply the way that he can unpick and understand 3D spaces. The process of generating fresh thoughts and concepts in itself is rather challenging, and almost impossible to do without some form of physical hand to paper release of concepts, Wilkinson explains in a Podcast with Chris Humphries that “Thats the great thing about sketchbooks you can carry it around with you. You dont have have to plug it in, you just need a pencil and a sketchbook” (The Royal Academy of Arts Podcast, 2015). One can see the design thought process in Wilkinson’s sketch for the ‘Magna’ project in Rotherham (Fig 7.2), there is a clean line of thought concerning routes for the public, façade’s and even rough elevations with erased pencil marks indicating change and progress in the design process. 88

Fig 7.3

Drawings, work as an architectural language allowing one’s jumbled up ideas to be unravelled gently upon a piece of paper, and the thought process that was initially jargon becomes comprehensible. In some ways, the drawing acts as a key piece to get information from one being’s mind to the other’s, particularly in an office setting, Wilkinson muses that “Drawings explain concepts, spatial arrangements, circulation, structure and details.” (Wilkinson, 2015) As with all Architects and students of Architecture, Wilkinson explains that he works on many projects at a time, so for him keeping a sketchbook is necessary, “My sketchbooks cover the whole design process. They often jump from early competition sketches on one project to structural details on another” (Wilkinson, 2015), he also explains that his sketchbooks provide “an invaluable record of ideas worked through and concepts secured, and they take you back to the inspirational moment when they were drawn – I find this a great help, given the often lengthy time-scales of architectural processes.” (Wilkinson, 2015), because of how the pages are bound together in a sketchbook, it is always possible to flick to and fro between pages looking at where you first begun, and the design stage that you are at now, this process is the key to unlocking a well produced design, “These have to be thoroughly tested and yet somehow, out of the complexity of the problem, a clear concept appears, like magic. Just like the rabbit that jumps out of the hat, a design solution materialises that makes sense of all the data one has been struggling with” (Wilkinson, 2015), and one can sense that in his sketches for Battersea Power Station (Fig 7.3), there is a sense of resolution in how the drawing is laid out and it is understood that this drawing holds the feeling of a more concrete idea.

Fig 7.4 When to draw has always been a topic that is raised in the architecture community as there is no definite answer, some people draw ideas straight away, some people jump straight on the computer, and others mull ideas over and over until it begins to join into a larger and much stronger web of concepts and notions. Wilkinson says that with architecture, one is always thinking and exploring ideas in one’s head, saying that he finds, different times and places wonderful opportunities to do so, and notes concerts as a place for his mind to wander freely, “Then I can’t wait to get back to my sketchbook and test them out.” (Wilkinson, 2015), he also notes that some of his sketchbook drawings are made in design meetings but many are carried out during quiet, contemplative moments when he is able to concentrate on a particular design problem. For him, “Time to think is a good time to draw” (Wilkinson, 2015) Wilkinson also notes that some drawings take a while to formulate and the development appears prolonged, while others are almost immediate, but he says that “Often the first quick sketches, when they are free and uninhibited are the best, but this is not something one can plan for and it may be necessary to work through many iterations before one achieves the desired result.” (Wilkinson, 2015). Wilkinson’s sketches for the Mary Rose Museum in Portsmouth (Fig 7.4) show ideas for materiality, routes and shape, echoing Wilkinson’s thoughts on the sketch allowing one to work through ideas before getting to the desired and more concrete result.

Fig 7.5

There are both similarities and stark contrasts between the architects’ sketchbook and the artists’ sketchbook, one similarity being that the sketchbook works as a portmanteau for ideas, inspiration and exploration and allows one to try idea after idea until something finally ‘clicks’ but Wilkinson points out that, “The artist’s work can be an end in itself and can be admired as a thing of beauty, but the architect’s sketch might be the germ of an idea, perhaps the start of a great building” (Wilkinson, 2015). Whilst the artists’ sketchbook can be a start and an end, the architect’s sketchbook works more like a key to unlock something firm. For Wilkinson, the sketchbook is an operational object rather than an aesthetic one; “I don’t see them as artwork, but as a part of a workmanlike design process of turning ideas into buildings.” (Wilkinson, 2015). And “Wilkinson’s point is that in Thinking Through Drawing, his show in the Academy’s Fine Rooms, he is not presenting works of art. He is an architect, he says, and though fascinated by art and a keen drawer, he thinks and sees like an architect. That’s different.” (Pearman, 2015). Wilkinson’s 2013 drawings for the Crown Hotel in Sydney (Fig 7.5) due for completion in 2019, are a good example of how the drawing process, after many changes and sketches turns an idea into a building, and although the drawings after this are quite different, one can still see where the original ideas came into play.

Though Wilkinson admits that he likes technology, he still uses “the most analogue process of his profession” (Baker, 2015) and he concedes that most drawings in offices in the 21st century are produced using computers and there is of course an obvious decline in traditional architectural drafting techniques. Wilkinson explains due to his age and because of the techniques in ‘his time’, he still prefers to draft using pencil and paper and says, “I don’t use a computer for drawing, my sketchbooks set me apart from the working teams” (Wilkinson, 2015). His sketches, like Nigel Coates, who’s work is explored in the next chapter, are tested in Grasshopper, a 3-D drawing programme, and this helps the teams to explore the initial sketch in a more concrete light.

“In other examples his style is looser, but he is right: an architect sees differently and depicts differently from artists. There is more emphasis on the direct communication of the idea. And people, when present in these works, are subservient to the buildings, handy devices to show a sense of scale.” (Pearman, 2015)

For Chris Wilkinson and the generations of architects before him, drawing was and still is an essential and much needed part of the design process, “Now with the almost universal use of computers, this can no longer be said to be true.” (Wilkinson, 2015) and like Pallsamaa,

Wilkinson strongly believes that “The process of drawing enhances the creative act” (Wilkinson, 2015) and that “There is something about eye – brain – hand coordination that seems to stimulate ideas, just as it serves to communicate them.” (Wilkinson, 2015), but he explains that drawing is not the be all and end all of architectural representation due to changes in rules and regulations over the years, “drawing is only part of the process: there are all the regulations and how the architects might interpret the site, which is especially tricky if you’re working in a dense urban setting”(Baker, 2015) highlighting the instrumental role that technology still plays in architecture, and the notion that both traditional methods and new methods can work together in harmony to produce striking, practical and beautiful pieces of architecture.

Nigel Coates Nigel Coates is a celebrated British architect and designer. Trained at the prestigious Architectural Association in London, he has consistently experimented and questioned his field, extended its boundaries and bridged it with semiotics, craftsmanship and contemporary culture. (Nigelcoates.com, 2016). Coates’ work is vibrant, energetic and passionate, working from a phenomenological stance in order to permit people to ‘feel’ as much as ‘see’, and this is highly evident in his works such as ‘ECSTACITY’, ‘Arkablbion’ and the ‘Powerhouse Exhibition’. “In the post punk years of the 1980’s Nigel Coates made an important breakthrough. Although using impulse and gesture in art was an established tradition, he realised that in architecture, this approach was virgin territory. He set about experimenting with a broad spectrum of materials, and discovered he could capture the dynamic quality of space in a new way.” (Coates, 2013). Coates’ architectural drawing style is highly distinctive and suggestive. The expressive nature of his drawings and sketches and the bold use of colour, varying pencil strokes and intensity of it all makes for an incredibly interesting investigation into his design process.

An interview conducted at Coates’ London office on January 27th 2016 provided a stimulating conversation on Architectural Drawings, the differences between the distinctive categories of representational

Fig 8.1

techniques, why he draws and what his sketchbooks mean to him. Coates makes a clear distinction between the act of drawing and the act of sketching, for him they are two very important but two very distinct acts. The act of sketching for him, works as a method to study an idea whilst drawing works as a language that informs and elucidates. Coates looks at designing spaces in a phenomenological way as opposed to a pragmatic way, and he explains his process as capturing the space, feeling and mood before moving on the practicalities such as stairs, windows, doorways and corridors, and this process is heavily represented in his current confidential sketches for the ‘Aereofab’(Fig 8.1), which is a project in process. As Coates flicked through the sketchbook he had been working in for the project, one is greeted with a visual treat of ideas almost bursting from each page, the Aereofab had been re-sketched and re-imagined again, and again until one begins to see more permanent and thickly drawn lines indicating design resolution and clarity, as opposed to the looser more lightly drawn imagery towards the beginning of the sketchbook.

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For Coates, the act of drawing is such a critical act in architecture because, with the pen he can imagine the future with a few rapid movements upon a piece of paper, “You can draw in advance of the object, and of the object” (Coates, 2016). Coates explains during the interview that for him, drawing allows him to “clue his work into a single whole” (Coates, 2016), at which point he moves onto drawing the idea and creating a more cast iron idea to present to either his clients of employees. In his self published book ‘Exploded: Works on Paper From The Nigel Coates Archive’ he explains that design for him, is to understand and make propositions and that “to design he needs to “engage in a to – and – from, between the real and the imaginary. Whatever the subject or context, the act of drawing helps me explore – literally pulling ideas from my mind. I’m never happier than when armed with a 2B pencil, lost in the pages of my sketchbook” (Coates, 2013).

“I guess my signature style is very expressionistic kind of drawings and the first that I found had this character that was 1980’s and was a project development and I was intoxicated by the idea making a building that felt full of speed obviously building don’t move.” (Usseglio Prinsi, 2013) Fig 8.2

Coates drawings for his Jasper Conran house (Fig 8.2) is filled with energetic colour strokes, reflecting the ideas Coates has for the project, he says: “This was actually my first ever real architecture client. He knew that he had a five-storey house so I didn’t have to tell that in the drawing, but what he didn’t know is the way I feel, so this actually built up a series of individual spaces that elaborates a kind of scenario, a living scenario which could be repeated over and over again and match the idea of a place to explore, the place where you would feel comfortable.” (Usseglio Prinsi, 2013).

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Fig 8.3 Drawing is such a key act in the design process because at each stage one is thinking, creating, and imagining yourself in various spaces, “In drawing, you analyse harder” (Coates, 2016), and it is the thinking through drawing that allows us to bridge the gap between the sketch and the final working drawing. Coates goes through the differences between Drawing, Sketching and Doodling saying, Drawing is the act of solidifying ideas and that “Whether intended to generate the built or the conceptual, these ‘explosions’ unpack each narrative so that it can be experienced ‘spatially’ as an assembly / disassembly, and allow the viewer to venture inside it’s architectural construct.” (Coates, 2013), whereas he goes onto expound on the fact that, “Doodling is another term that’s important to understand. It is the act of halfthinking and allowing the pencil to guide you, unlike with drawing where you know exactly what it is that you want to draw, and sketching where you are using the pencil to test ideas” (Coates, 2016). Furthermore the sketch works as a vehicle for him to interrogate his ideas and constantly work on them until they solidify into something more, “I enjoy the dialogue of the vision that is captured in the sketch, it concretises and tests sizes and proportions and the way something could be made” (Coates, 2016). Sketches are important because they allow one to imagine (Fig 8.3), “Architectural sketches and drawings allow us to key into the future, we cannot predict the future, but we can draw it.” (Coates, 2016). A drawing on the other hand underlines and defines the initial ideas behind a sketch.

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Fig 8.4 Coates’ impressive collection of sketchbooks allows for a conversation on his collection and he explains that a diagrammatic sketch that is passed between himself and his employees is much different to the sketches in his sketchbook, the ‘office sketch’ works as a facilitator and as a language, almost in the way shorthand works. It allows the idea in the architect’s ideas to be very quickly passed onto someone else to encourage discussion or like in most practices to facilitate a quick change. But “A sketchbook is personal in the sense that it’s quite private, but it’s interesting because that privacy can be shared” (Coates, 2016). In conclusion Coates remarks, “Long before anything gets built, my drawings prize open a world of their own. These worlds oscillate between reality and the imaginary. Any project worth it’s salt contains equal proportions of rationality and impossibility” (Coates, 2013) expounding on his thoughts on the act of drawing, sketching, doodling and diagramming as being the keys to his creative process, allowing his to unlock, explore and work with different ideas and thoughts and allowing him to move from a dream-like state to a more grounded design that he explores more heavily in computer form, which in turn unlocks another stage in the design process that allows himself and his team to go back and forth between, for Coates, the drawing process creates the design and the computer stage realises it and he notes that drawings, sketch 3-D models and computer rendering together allow for a thorough exploration into a project that is to be built.

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Both architect’s input has been of great importance to the study as it highlights drawing’s pivotal and unchallenged role in architecture, particularly when it comes to the initial design process as both architect’s have strongly pointed out. Wilkinson, with a career spanning almost fifty years has seen first hand the changes the architectural profession has seen over the decades, and it is curious to note that after all these years he still believes in the quality of hand drawing. Coates’ whose work is more experimental, also concludes with his sketchbooks becoming vehicles for him to express his ideas thoroughly and quickly, particularly in an office setting, highlighting the efficiency that drawing brings and the rapidity of drawing working as a communicative tool.

DISCUSSION: COATES & WILKINSON

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Two architects can have an entire discussion concerning a scheme simply through sketching together and it works as a swift mode of resolving ideas in the initial stage, whereas the stage after final drawings can often become slow and cumbersome due to computer difficulties.

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CONCLUSION

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So, how would one tell the difference between an architectural sketch and an artist’s sketch? Simply through visual means, it would be difficult to tell. If one was to peer over the shoulder of someone sketching into a notebook on the street, how could we tell if they were drawing for architecture or for art? It would be very difficult to tell, but the point of the drawing itself is where the answer lies. The architectural sketch, as underlined in this study is used as a catalyst for ideas and a language of communication. Each pencil stroke represents something, the hardness and thickness of one line as opposed to the lightness and softness of another can indicate a difference in façade texture or where a door or window may be, or even the type of ground covering. Sometimes, each line is imbued with days, months, and even years worth of ideas, thoughts and a sense of excitement for example the work of Gehry, his sketchbooks and pieces of papers housing his ideas and thought processes permeated with swirling almost asinine seeming lines and delineations, and other times some lines can be quick ‘doodles’ as Coates’ explained, that are half-thoughts and allow the hand to guide the architect’s ideas rather than one’s mind. The process of sketching allows for a phenomenological study into a project that has not yet been built, granting architects a key into a rough three dimensional representation of the building immediately and quickly without the hindrances of computer aided design. Sketching is quick and immediate and allows the idea to flow freely without any constraints, it is simply the architect, his ideas, a piece of paper and a pen. The connection between the mind and the hand is not blocked, allowing for what this study has found to be a gratifying, free flowing, process that is refined through more solidified drawings which work as language to explain, explore and illuminate. And unlike an artist’s sketch which can be a means to an end, and a final piece in itself, architectural drawings and sketches for buildings are a cog in what could be described as the vehicle, which is the final building. In essence, the sketch is an important and essential part of the design process, and one could argue that without all the preliminary sketches, drawings and diagramming, good architecture simply could not exist, after all, what were we doing before the computer (useful as it is) came along?

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APPENDIX

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AN E-MAIL I N T E RV I E W WITH CHRIS D O V E

“Drawing for me has always been a way of expressing myself, when talking or writing isn’t enough. Even if I’m in the pub with friends I’m drawing on napkins and arranging pint glasses in a way that resembles what I’m talking about. I think it’s about understanding, and trying to get a complete image from somewhere in the back of your mind in to reality. It’s really not a pretentious or complicated thing, it’s quite simple really. It’s just about being able to fully explain something in your mind, through your hands. I think drawing is a fantastic way of articulating this. In relation to architecture, I think when you’re drawing out an idea, however sketchy or accurate you’re trying to be, there is sensitivity to using your hands. It can help you explain an idea much clearer than if you are illustrating it purely on a computer. You’re not restricted by any of the set tools of CAD programs, and so the drawing on paper is much closer to the original idea in your mind. This should not, and does not stop at early design stages either. I believe you should always draw, particularly in the latter stag¬¬es of designing buildings. Thinking through sketching about how buildings are made, and how materials work with one another is incredibly important to detailing and construction. I really like the idea that drawing is not the purely poetic art that people believe it to be. Some of the most beautiful architectural drawings I’ve seen have been from architects like Sigurd Lewerence and Alvar Aalto, thinking about the detail and construction of architecture. Architects like these practice a homogeneous approach to drawing, from the initial ideas of a project, right down to the finest details.”

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NOTES FROM AN INTERVIEW CONDUCTED W I T H NIGELCOATES ON 21/01/2016 118

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A GALLERY GUIDE FROM THE ‘THINKING T H R O U G H D R A W I N G EXHIBITION’ AT THE ROYAL ACADEMY OF ARTS LONDON 124

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FINAL THOUGHTS

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The act of drawing has always had a special place in my heart, and prior to studying Architecture, I was hell bent on pursuing a career in Fine Art and fancied myself the next Tracey Emin or Jenny Saville, dabbling in feminist art and large scale portraits. However the Artist dream soon came crashing down around once I realised how unrealisable it was for me to pursue, so instead I pursued the Architecture path, and it became apparent to me halfway through my first year, that architecture was definitely not about drawing pretty buildings in a book for aesthetics sake, but something much more tangible than that. After struggling to understand CAD programmes and how to articulate my thoughts on paper, I read. I read books on architects such as Santiago Calatrava, Charles Rennie Mackintosh and Frank Gehry, books that studied the architectural drawing, the ways in which architects drew and why they drew. I wasnâ&#x20AC;&#x2122;t able to explore this topic in my undergraduate years as my dissertation for third year focused on the computer versus the hand and explored the digital renaissance of the twenty first century, and interesting as that topic was, Iâ&#x20AC;&#x2122;ve always wanted to explore why architects sketch, and how the sketch is formed into something more palpable and resolved, and how that sketch then unfolds into a building. I thoroughly enjoyed this Specialist Study project, and had I more time; I would have studied more architects and their works in depth. The works of Mackintosh were especially fascinating to me, and I would have also liked to have spoken to more young architects who draw as I found the conversation with Chris Dove incredibly insightful and I found his work to be highly inspiring, so much so that iâ&#x20AC;&#x2122;ll be hand drawing my next design project. It would have also been very helpful to get a response from Wilkinson Eyre, as a personal input into the case study on Chris Wilkinson would have allowed a personal exploration into some of his projects such as with Nigel Coates. All in all, what have I learnt from this specialist study? That I most definitely need to put pen to paper more often and explore my thoughts through a series of lines and leave the computer alone, if only for a little bit, and allow my imagination to run wild. 132

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BIBLIOGRAPHY

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LIST OF ILLUSTRATIONS

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Fig 1.1: Mccabe, E. (2015). [online image] Available at: https:// www.royalacademy.org.uk/article/my-studio-life-chriswilkinson [Accessed 21 Dec. 2015].

Fig 2.5: Lutyens, E. (1891). Design for a Coach house. [online image] Available at: http://www.vam.ac.uk/content/articles/a/ architects-and-their-sketchbooks/ [Accessed 1 Feb. 2016].

Fig 1.2: Niemeyer, O. (n.d.). [online image] Available at: https:// www.vice.com/en_uk/read/oscar-niemeyer-856-v16n5 [Accessed 1 Feb. 2016].

Fig 2.6: Holl, S. (2015). Concept Drawing. [online image] Available at: http://www.arcspace.com/the-architects-studio/ steven-holl-watercolors/ [Accessed 18 Feb. 2016].

Fig 1.3: Scarpa, C. (n.d.). A Photo of Carlo Scarpa. [online image] Available at: https://quintoelementovisual.wordpress. com/2012/09/06/4/ [Accessed 11 Jan. 2016].

Fig 2.7: Zaha Hadid Architects, (2012). Pierresvives Sketch. [online image] Available at: http://www.zaha-hadid.com/ architecture/pierrevives/ [Accessed 12 Feb. 2016].

Fig 2.1: Brunelleschi, F. (n.d.). Sketches Of The Machine. [online image] Available at: http://totallyhistory.com/filippobrunelleschi-artwork/ [Accessed 8 Dec. 2015].

Fig 2.8: Zaha Hadid Architects, (2012). Pierresvives photo. [online image] Available at: http://www.zaha-hadid.com/ architecture/pierrevives/ [Accessed 12 Feb. 2016].

Fig 2.2: da Sangallo, A (n.d). Design for a freestanding tomb seen in elevation and plan [image]. Uffizi Gallery: Florence, Italy

Fig 3.1: Akinsanya, F (2016), Sketch of the design process [image]. Authors own

Fig 2.3: Mansart, F (1653). Alterations to the Hotel de la Baziniere on the Quai Malquais. [image] Bibliotheque Nationale de France.: Paris

Fig 4.1: Webb, P. (1885). Design drawing for carved oak cresting at Clouds House by Philip Webb, 1885. [online image] Available at: http://collections.vam.ac.uk/item/O1295384/design-webbphilip-speakman/ [Accessed 11 Feb. 2016].

Fig 2.4: Mackintosh, C. (1891). Como Cathedral, studies of window and two finials. [online image] Available at: http://www. mackintoshsketchbook.net/searchresults.php?ft=0&q=Como [Accessed 21 Feb. 2016].

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Fig 4.2: Country Life, (1904). Photo of the drawing room at Clouds House. [online image] Available at: http:// www.countrylifeimages.co.uk/Image.aspx?id=bcd0ecd69503-4aed-bd3e-7973e2d2b0c3&rd=2%7C%20 clouds%7C%7C1%7C20%7C25%7C150 [Accessed 8 Nov. 2015].

Fig 5.5: Mendelsohn, E. (n.d). Columbushaus exploratory sketches. [image] Staatliche Museen zu Berlin, Kunstbibliothek.

Fig 4.3: Gehry, F. (2014). Biomuseo Panama sketches. [online image] Available at: https://archiscapes.files.wordpress. com/2014/10/biomuseo-panama-sketches.jpg [Accessed 8 Dec. 2015].

Fig 5.7: Diller, E. (1998). Blur process sketch. [image] Swiss Expo, Switzerland

Fig 5.6: Gehry, F. (1991). Sketches for the Walt Disney Concert Hall. [online image] Available at: http://www.arcspace.com/ features/gehry-partners-llp/ [Accessed 28 Jan. 2016].

Fig 5.8: Siza, A. (2010). Sketches for Santa Maria Church and Parish Centre Marco de Canavezes. [online image] Available at: http://www.arcspace.com/features/alvaro-siza/santa-mariachurch/ [Accessed 23 Jan. 2016].

Fig 5.1: Peruzzi, B. (n.d). Study of a sepulchre. [image] Uffizi Gallery. Florence, Italy Fig 5.2: Paxton, J. (1850). Crystal Palace proposal end elevation and cross-section sketch. [image] V&A Picture Library, London.

Fig 5.9: Zaha Hadid Architects, (2009). Sketch for the Spiral Tower 1. [online image] Available at: http://www.archdaily. com/29029/first-stone-of-the-spiral-tower-by-zaha-hadid-inbarcelona [Accessed 16 Feb. 2016].

Fig 5.3: de Klerk, M. (1918). Housing complex ‘De Dageraad’: design sketch III. [online image] Available at: http:// schatkamer.nai.nl/en/projects/woningbouw-de-dageraad [Accessed 12 Feb. 2016].

Fig 5.10: Zaha Hadid Architects, (2009). Sketch for the Spiral Tower 2. [online image] Available at: http://www.archdaily. com/29029/first-stone-of-the-spiral-tower-by-zaha-hadid-inbarcelona [Accessed 16 Feb. 2016].

Fig 5.4: de Klerk, M. (1918). Housing complex ‘De Dageraad’: design sketch. [online image] Available at: http://schatkamer. nai.nl/en/projects/woningbouw-de-dageraad [Accessed 12 Feb. 2016]. 148

Fig 6.1: Jiricna, E. (n.d.). Lavka Bridge. [online image] Available at: http://www.e-architect.co.uk/images/jpgs/architects/lavkabridge-aw3.jpg [Accessed 11 Feb. 2016]. 149

Fig 6.2: Eisenman, P. (1969). Conceptual sketch, Falk House (House II). [online image] Available at: http://www.cca.qc.ca/en/

Fig 6.9: Dove, C. (2015). Sketch study [online image] Available at: http://89dove.tumblr.com [Accessed 11 Feb. 2016].

print_feature/1289 [Accessed 16 Nov. 2015]. Fig 6.3: World Architecture, (2007). HOUSE II (VERMONT HOUSE). [online image] Available at: http://www. worldarchitecture.org/architecture-projects/hem/house-iivermont-house-building-page.html [Accessed 7 Feb. 2016]. Fig 6.4: Dove, C. (2015). New York Study. [online image] Available at: http://89dove.tumblr.com [Accessed 16 Feb. 2016]. Fig 6.5: Dove, C. (2015). New York Study. [online image] Available at: http://89dove.tumblr.com [Accessed 16 Feb. 2016]. Fig 6.6: Dove, C. (2015). Centre Pompidou sketch. [online image] Available at: http://89dove.tumblr.com [Accessed 16 Feb. 2016]. Fig 6.7: Lewrentz, S. (1955). Chapel of the Resurrection,Woodland Cemetery. [online image] Available at: http://archleague. org/2013/03/horizontal-light-lewerentz-aalto-and-the-nordiclandscape-by-thomas-ryan/ [Accessed 20 Feb. 2016]. Fig 6.8: Aalto, A. (1952). Villa Mairea Sketch. [online image] Available at: http://archleague.org/2013/03/horizontal-lightlewerentz-aalto-and-the-nordic-landscape-by-thomas-ryan/ [Accessed 21 Feb. 2016].

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Fig 7.1: Bodkin, J. (2015). Chris Wilkinsonâ&#x20AC;&#x2122;s sketchbooks.. [online image] Available at: https://www.royalacademy.org.uk/exhibition/ chris-wilkinson-thinking-through-drawing [Accessed 21 Feb. 2016]. Fig 7.2: Wilkinson, C. (2015). Sketch for Magna. [online image] Available at: https://www.royalacademy.org.uk/exhibition/chriswilkinson-thinking-through-drawing [Accessed 21 Feb. 2016]. Fig 7.3: Mccabe, E. (2015). Battersea Power Station Sketch. [online image] Available at: https://www.royalacademy.org.uk/article/mystudio-life-chris-wilkinson [Accessed 5 Feb. 2016]. Fig 7.4: Wilkinson, C. (2015). Sketch for Mary Rose. [online image] Available at: https://www.royalacademy.org.uk/exhibition/chriswilkinson-thinking-through-drawing [Accessed 21 Feb. 2016]. Fig 7.5: Wilkinson, C. (2015). Crown Hotel. [online image] Available at: https://www.royalacademy.org.uk/exhibition/chris-wilkinsonthinking-through-drawing [Accessed 21 Feb. 2016]. Fig 8.1: Coates, N (2016). Sketches for Aereofab. [image] Nigel Coatesâ&#x20AC;&#x2122; Sketchbook

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Fig 8.2: Coates, N. (2013). Jasper Conran House. [image] Available at: http://www.archilovers.com/stories/4626/chatting-with-nigelcoates.html [Accessed 21 Feb. 2016].

Fig 8.3: Coates, N. (2013). CaffĂ¨ bongo Tokyo. [image] Available at: http://www.archilovers.com/stories/4626/chatting-with-nigelcoates.html [Accessed 21 Feb. 2016].

Fig 8.4: Coates, N. (2005). Squex Game Club. [image] Available at: http://nigelcoates.com/project/sqex_video_game_club [Accessed 21 Feb. 2016].

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â&#x20AC;&#x153;It was the drawing that led me to architecture, the search for light and astonishing formsâ&#x20AC;?

â&#x20AC;&#x201C; Oscar Niemeyer (Luongo, 2012).

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