Acknowledgments his book is dedicated to those architects who Karl Brown for comments and other valuable assis generously took time to discuss their use of tance. drawings in design during my original and Michele Laseau for technical assistance. subsequent research.Many of them also pro- Jack Wyman,Ken Carpenter,Juan Bonta,Charles vided sketches to illustrate the text.Their dedication Sappenfield,and other present and past col- to creativity in architecture,enthusiasm for drawing, leagues at the College of Architecture and and comments about their design processes were a Planning,Ball State University for comments and great help and inspiration for my work.Among these architects,I am especially indebted to David Stieglitz, moral support. Thomas Beeby,Morse Payne,Thomas Larson, A special thanks to Forrest Wilson for his enthusi- Michael Gebhart,Romaldo Giurgola,James Tice astic support at the humbling outset of this effort. Norman Crowe,Harry Egink,Kirby Lockard,and Finally,thanks must be given to my wife,Peggy, Steven and Cathi House. and children,Michele,Kevin,and Madeleine,for Recognition is due the following people for their their great patience and sacrifices while I struggled particularly important contributions to this effort: with revisions. Fuller Moore for first suggesting the idea. Previously published drawings were pho- Robert McKim for his insights to visual thinking and tographed by Jerry Hoffman and Steven Talley. his encouragement. Jim Anderson for vital comments on graphic commu- nication ix
AcknowLedgments • T his book is ded icat ed to th ose ar chitects who generously took time to discuss their use of drawing s in de sign d uring my or iginal and su bseq uent research . Man y of th em als o provided sketches to illustrate th e text. Th eir ded ication to creativity in architecture, enthusiasm for dr awing, and com me nts about their de sign processes were a gre at he lp and inspirat ion for my work. Among the se architects, I am especiall y indeb ted to David Stieg litz, Thomas Bee by, Morse Payne , Thomas Larso n, Michae l Ge bhart, Romaldo Giurgola , Jam es Tice, Nor man Crow e, Harry Egin k, Kir by Lock ard , and Steven and Cathi House. Recognition is due th e following people for the ir particu larly important contributions to this effort: Fuller Moore for first suggesting the idea. Robert McKim for his insights to visual thin king and his en cou ragement. Jim An derson for vital comments on graph ic communication. Karl Brown for comments and other val uab le assistan ce. Mi ch ele Laseau for technical assistanc e. Jack Wyman, Ken Car penter, Juan Bonta , Charles Sappenfield , and other prese nt and past collea gues at the College of Architecture and Planning, Ball State University for com me n ts an d moral support. A special thanks to Forrest Wilson for his enthusiastic sup port at th e humbling ou tset of this effort. Fin all y, th anks must be given to my wife, Peggy, and children , Michele, Kevi n, an d Made leine, for their grea t patience and sa crifices while I struggled with revisions. Previously published draw in gs were photographed by Jerry Hoffman and Steven Talley. ix
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■ 1 Introduction raphic thinking is a term I have adopted to describe thinking assisted by sketching.In architecture,this type of thinking is usually associated with the conceptual design stages of a project in which thinking and sketching work closely together as stimulants for developing ideas. Interest in this form of thinking is promoted by a reexamination of the history of architectural design, the impact of visual communication in society,and new concepts of the role of design and designers. There is actually a very strong tradition of graphic thinking in architecture.Looking through reproduc- tions of the notebooks of Leonardo da Vinci,we are struck by the dynamic thinking they reflect.It is impossible to really understand or appreciate da Vinci's thinking apart from his drawings because the graphic images and the thinking are one,a unity.A closer look at these sketches reveals certain features that are instructive for anyone interested in graphic Figure 1-2 By Edwin Lutyens.Castle Drogo and British Pavilion thinking. 1911 Exposition,Rome. 1.There are many different ideas on one page-his attention is constantly shifting from one subject to another. 2.The way da Vinci looks at problems is diverse both in method and in scale-there are often per- spectives,sections,plans,details,and panoramic views on the same page. 3.The thinking is exploratory,open-ended-the sketches are loose and fragmented while showing how they were derived.Many alternatives for extending the ideas are suggested.The spectator is invited to participate. What a marvelous example!Here is a mind in fer- ment,using drawings as a means of discovery rather than as a way to impress other people. Figure 1-3 By Edwin Lutyens.Castle Drogo and British Pavilion Although it is often difficult to find records of 1911 Exposition,Rome. developmental sketches in historical documents there is enough surviving evidence to indicate that training method.With the establishment of large the use of sketches for thinking was common to architectural firms in the United States,three- architects throughout history.Depending on the dic- dimensional scale models gradually replaced draw- tates of the building trades or customs,the drawing ing for the purposes of design development.The use 1 conventions varied from plan to section to elevation. of designing sketches further declined with the For almost two centuries,the Ecole des Beaux Arts in advent of professional model makers and profes- Paris used the plan esquisse as the foundation for its sional renderers. 1
• • 1 Introduction Graphic thinking is a te rm I ha ve adopted to describe thinkin g assisted by ske tch ing. In ar chitecture, this type of thin king is usually associated w ith the concep tua l design stages of a projec t in which th inkin g and ske tching work closel y toge th er as st im ulants for developing ideas. Interest in this form of thinki ng is promot ed by a reexamination of the histor y of ar chitectural design, th e impact of visual com mun ication in society, and new concepts of the role of design and design ers. The re is actua lly a ve ry strong tradit ion of grap hic th inking in archi tecture. Looking thro ugh reprodu ctions of th e notebooks of Leon ardo da Vinci, we are struck by the d yn amic thinkin g t hey re flect . It is impossible to really u nderst and or apprecia te da Vinci's thin king apa rt from his drawi ngs because the graphic images and th e thinking are one, a unity. A closer look at the se ske tches reve als certain featur es tha t are instruc tive for anyone interested in graphic th inking. 1. There are many different ideas on one page-his attention is constantly sh ifting from one subje ct to another. 2 . The way da Vinci looks a t prob lems is di verse both in method and in scale- there are oft en perspectives, sections, plans, de ta ils, an d panoramic views on the same page. 3 . The thinking is explor ato ry, open-ended - the sket ches are loose and fr agmented while showing how th ey were der ived . Many alterna tiv es for extending th e ideas ar e suggested. The sp ecta tor is invited to parti cipate. Wh at a marvelous example! Here is a mind in ferment, using drawings as a means of discovery rath er than as a way to impress other peop le. Althoug h it is oft en difficult to find records of developmen tal sketches in hist or ical documen ts, ther e is eno ug h sur vivin g evide nce to indica te th a t th e use of sketches for thinking was com m on to ar ch itects thr oughout history. Depe nd ing on th e dictates of th e building trades or customs, the dr aw ing conventions varied from plan to sec tion to ele vat ion . For almost tw o centuries, th e Ecole des Beaux Arts in Paris used the plan esquisse as th e found ation for its Figure 1-2 By Edwin Lutyens. Castle Drago and British Pavilion 1911 Exposition, Rome. ' 0 , , j', . .t I ', . . .-l '· L .oli\ Figure 1-3 By Edwin Lutyens. Castle Drago and British Pavilion 1911 Exposition, Rome. tr ain ing me thod . With th e establis hme nt of large arch itec tura l firms in the Uni ted States, threedimension al scale models gradually replaced draw ing for the purposes of design development. Th e use of de sign ing sketches further declined w ith the advent of professiona l model makers and professiona l rende rer s. 1
.6然。 Figure 1-4 By Alvar Aalto. There has,of course,been an intense interest in architects'drawings rekindled by exhibits like the Beaux-Arts and 200 Years of American Architectural Drawings.But the emphasis is mostly on communi- cation of the final fixed product,and these presenta- tion drawings tell us practically nothing about the way in which the buildings were designed.The thinking sketches are necessary to understand the step-by-step process.Yet even when the thinking sketches are available,as in the documents of the work of LeCorbusier,they are usually overlooked in favor of the renderings or photos of the finished work.We are just beginning to appreciate the impor- tance LeCorbusier placed on sketches.As Geoffrey Broadbent notes,"All the internal harmony of the work is in the drawings....It is incredible that artists Fiqure 1-5 By Thomas Larson.The Grandberg Residence. today should be indifferent (even hostile)to this prime mover,this 'scaffolding'of the project." 2 Introduction
f ~i _.. ..... <, I .......-- . ' -- \ I . ' . ..L \ 1 " ! ' ,. --...._---- "T'" \ t,.. ..- .. ( " ~~ -- -; / - ,- ' ) ,- -I:':" ... :' r \ _. -~ ..r ~.r r "> "I .""';' '., . ' . ' / '" - -r j ' - ./ , • " >.... . . '. _ ....... .., , ,., ,; . 1.-'\ .~ WI' .,:;p, , Ii ) • . - -t ., ~~~ ~7 - .s " . . 11' i,~\'J.' ej JIJ:i ~-T"~ - ' '" ,. [ "; I' I ' - -" ~. /J. [I),. ,/),. ,)I" V:' -.-~ 'f ; "' . C-7~ I .~ l • i.o--r---:::> 6r>o" 1 t" '~ \;.. ..< ~'--_ .!l-:"" -~ . .. - Figure 1-4 By Alvar Aalto. Th er e ha s, of course., been an int ense in te rest in architec ts ' drawings re kindled by exhibits lik e the Beaux-Arts and 200 Years of American Architectural Dr aw ings. But th e emphasis is mo stl y on comm unication of the final fixed product , and these presentation drawings tell us practically nothing about the way in w hich the buildings were designed. The thinkin g sketches ar e necessary to understand the step-by -step process. Yet ev en when the thinking sketch es are available, as in the do cuments of the work of LeCorbusier, they ar e usually overlooked in favo r of th e renderings or photos of the finished work. We ar e ju st beginning to appreciate th e importance LeCorb usier pl aced on sketches. As Geoffrey Broadbent no te s, "All the internal harmony of the work is in th e drawings.... It is incredible that artists Figure 1-5 By Th omas Larson. The Grandberg Residence. today should be indi fferen t (even ho stile) to th is prime mover, this'sca ffolding' of th e project. "l . \fJ!lJiK~-: Tt1~~""' '1 I . \ ," 2 Introduction
Figure 1-6 By Thomas Beeby.House of Virgil. deri brow Among modern architects,Alvar Aalto has left us probably one of the best models of the graphic think- ing tradition.His sketches are rapid and diverse;they deftly probe the subject.Hand,eye,and mind are intensely concentrated.The sketches record the level of development,proficiency,and clarity of Aalto's ideas.There are many other architects whose work we can turn to,particularly here in the United States, where we are experiencing a resurgence of sketching. Their drawings are inventive,diverse,and provoca- tive.Whether they are making notes in a sketchbook or turning over concepts in the design studio,these creative designers are looking for something special over and above solving the design problem,like the gourmet who is looking for something more than food.They enjoy the eureka experience,and they enjoy the search as well.This book is really about finding things,about seeing new ideas,about discov- ery,and about sharing ideas and discoveries. Figure 1-7 By Norman Jaffe. Introduction 3
• .·-- .- ILJI \. ~~~~ Figure 1-6 By Thomas Beeby. House of Virgil. Among modern architects, Alvar Aalto has left us proba bly one of th e best models of th e graphic thinking tradition. His sketch es are rapid and divers e; they deftly probe the subject. Hand, eye, and mi nd are int en sely concentra ted. The sketches record th e level of development, profi ciency, and clarity of Aalto 's ide as. There are many other architects w hose work we can turn to , particul arly here in the United States, where we are exp eriencing a resurgence of sketching. Their draw ings ar e inventive, diverse, and prov ocative. Whethe r they are making notes in a sketchbook or turning over con ce pts in th e design studio , th ese creative designers are looking for som et hing specia l over and above solving the design problem , like the gourmet w ho is looking for somethin g more than food . They enjoy the eure k a experience, and they enjoy th e search as well. This book is really abo ut finding th ings, about seeing new ideas, about discovery, and abo ut sharing ideas and discoveries. Figure 1-7 By Norman Jaffe. Int roduction 3