BIRKHAUSER Eric J. Jenkins Drawn to Design Analyzing Architecture Through Freehand Drawing www.ebook3000.com
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Contents Preface 8 PART I Introduction 10 SKETCHING,THINKING, LEARNING Sketching,Thinking,Learning 20 Sketching as a Bodily Skill 品 Learning(and Re-Learning)to Draw 29 Learning to Sketch Without Thinking Practicing to Practice 30 Sketching and Thinking 38 What is Analysis? 38 The Context-bound Position 3 The Autonomous Position Formal Analysis 40 Context-bound Critical Analysis 41 Analysis from a Dynamic Intermediate Position 41 Not All Sketches are Equal: Syntactic Sketch Diagrams 42 What are Diagrams? 42 How are Diagrams Used? 44 Developing Spatial Knowledge and Material Analogies 45 Sketching as a Physical Analogy 6 Sketching and Learning 52 What to Use and How to Use It Tools of the Trade 2 Drawing the Lines Building a Drawing 哈 Habits to Help Development of Tool Use Reflective Practice 32 SPQR Line and Time Budgets 36 Drawing Types for Advanced Study Sketching in Axonometric 48 Putting Things in Perspective 50 Placing the Diagrams on a Page The Exquisite Corpse Collage Diagrams 6 www.ebook3000.com
5 Preface 8 Introduction 10 Part I Sketching, Thinking, Learning Sketching, Thinking, Learning 20 Sketching as a Bodily Skill 28 Learning (and Re-Learning) to Draw 29 Learning to Sketch Without Thinking 29 Practicing to Practice 30 Sketching and Thinking 38 What is Analysis? 38 The Context-bound Position 39 The Autonomous Position 39 Formal Analysis 40 Context-bound Critical Analysis 41 Analysis from a Dynamic Intermediate Position 41 Not All Sketches are Equal: Syntactic Sketch Diagrams 42 What are Diagrams? 42 How are Diagrams Used? 44 Developing Spatial Knowledge and Material Analogies 45 Sketching as a Physical Analogy 46 Sketching and Learning 52 What to Use and How to Use It Tools of the Trade 22 Drawing the Lines 24 Building a Drawing 26 Habits to Help Development of Tool Use Reflective Practice 32 SPQR 34 Line and Time Budgets 36 Drawing Types for Advanced Study Sketching in Axonometric 48 Putting Things in Perspective 50 Placing the Diagrams on a Page The Exquisite Corpse 54 Collage Diagrams 56 Contents 001-007_DD_part_0_final.indd 5 24.09.12 16:11 www.ebook3000.com
PART II Traversing the Section 108 DESIGN ACTS Orchestrating Sequence 110 Introduction 6 Entering the Building 112 Passing through Buildings 114 Mapping the Plan 62 Articulating Path and Room 116 Ascending Stairs 118 Clarifying Public/Private q Stepping with the Landscape 120 Delineating Service and Served 66 Considering Circulation 122 Compressing and Expanding Sequences 124 Demarcating Profane and Sacred Relating Materials 0 Walking beneath Portals 126 Filling Walls Moving through Layers 128 Linking Profane with Sacred 130 Responding to Light 74 Connecting Rooms and Paths 76 Interfacing Public with Private 132 Interlocking Sections 134 Uniting Connections 78 Aligning Edges and Centers 0 Carving Voids 136 Stitching Tartans Shaping the Floor 138 Shifting Geometries 8 Reinforcing with Tectonics 140 Expanding Atria 142 Overlapping Spatial Patterns 86 Engaging the Landscape Sensing Scale 144 Fashioning Order and Disorder 号 Reconciling Ideal and Real 146 Resolving Geometries Arranging Voids 148 150 Extracting Voids from Poche 4 Sculpting Light Composing Tectonic Order Reconciling Structure and Enclosure Disposing Walls Facing the Building 152 100 Classifying Type:the Infill 102 154 Classifying Type:the Bar 104 Revealing Tartans 156 Classifying Type:the Courtyard 106 Disposing Symmetry and Asymmetry Addressing Entry 158 Alternating Edges and Centers 160 Establishing and Then Breaking Order 162 Diagnosing Proportional Systems 164 Connecting Scales 166 Understanding Continuity 168 Attaching to Context 170 Harmonizing Forms 172 Arranging Mass 174 Balancing Mass 176 Subtracting Voids/Adding Figures 178 Expressing Planes 180 Weaving Structure and Enclosure 182 Viewing Layers 184 Relating Base-Middle-Top 186 Topping the Building 188 Turning the Corner 190 Seeing Windows 192 Highlighting Shadows 194 www.ebook3000.com
6 Part II Design Acts Introduction 60 Mapping the Plan 62 Clarifying Public/Private 64 Delineating Service and Served 66 Demarcating Profane and Sacred 68 Relating Materials 70 Filling Walls 72 Responding to Light 74 Connecting Rooms and Paths 76 Uniting Connections 78 Aligning Edges and Centers 80 Stitching Tartans 82 Shifting Geometries 84 Overlapping Spatial Patterns 86 Engaging the Landscape 88 Fashioning Order and Disorder 90 Resolving Geometries 92 Extracting Voids from Poché 94 Composing Tectonic Order 96 Reconciling Structure and Enclosure 98 Disposing Walls 100 Classifying Type: the Infill 102 Classifying Type: the Bar 104 Classifying Type: the Courtyard 106 Traversing the Section 108 Orchestrating Sequence 110 Entering the Building 112 Passing through Buildings 114 Articulating Path and Room 116 Ascending Stairs 118 Stepping with the Landscape 120 Considering Circulation 122 Compressing and Expanding Sequences 124 Walking beneath Portals 126 Moving through Layers 128 Linking Profane with Sacred 130 Interfacing Public with Private 132 Interlocking Sections 134 Carving Voids 136 Shaping the Floor 138 Reinforcing with Tectonics 140 Expanding Atria 142 Sensing Scale 144 Reconciling Ideal and Real 146 Arranging Voids 148 Sculpting Light 150 Facing the Building 152 Revealing Tartans 154 Disposing Symmetry and Asymmetry 156 Addressing Entry 158 Alternating Edges and Centers 160 Establishing and Then Breaking Order 162 Diagnosing Proportional Systems 164 Connecting Scales 166 Understanding Continuity 168 Attaching to Context 170 Harmonizing Forms 172 Arranging Mass 174 Balancing Mass 176 Subtracting Voids/Adding Figures 178 Expressing Planes 180 Weaving Structure and Enclosure 182 Viewing Layers 184 Relating Base-Middle-Top 186 Topping the Building 188 Turning the Corner 190 Seeing Windows 192 Highlighting Shadows 194 001-007_DD_part_0_final.indd 6 24.09.12 16:11 www.ebook3000.com
Probing the Details 196 PART III HOLISTIC ACTS Finding Rooms within Rooms 198 Sheltering within a Room 200 Opening Doors 202 Introduction 278 Framing Views 204 Shading Glass Typological Study of Place 206 280 Adjusting Panels 208 Discover Artificiality 281 Conceptual Memory of Place Incorporating Furniture 210 Categorizing Joints 212 Simply Complex 283 Capturing Sense of Place 284 Expressing Connections 214 Joining Wood 216 A Set of Partial Interpretations 285 Assembling with Third Things Speculate on Systems 218 286 Aligning Seams A Meditative Experience 220 2D to 3D Changing Material 222 What Makes a Place Unique Interlocking Masonry 224 289 Organizing Geometries 226 Lines of Thought 9 Visible Guidelines Gripping the Rail 228 9 Grasping Knobs 230 The Gem and the Setting In Focus Studying Unintended Consequences 1 232 293 Studying Unintended Consequences 2 234 Acts of Appreciation Self-Awareness in Drawing Encounters Engaging the Context The Nature of Entry and Threshold 236 280 A Holistic Journey 2 Orienting Oneself Conceptual and Perceptual Drawings 299 238 Discovering Lynch's Elements 240 Coordinating Object and Fabric 242 Resolving Geometries 244 APPENDIX Mediating with Shifts 246 Rotating and Pivoting 248 Screening Spaces 250 Bibliography 302 Lining with Trees 252 Photo Credits On the Author Layering Space 254 Acknowledgements Corresponding Solid and Void 256 Index of Buildings Highlighting Space in Fabric 258 Drawing the Nolli 260 Index of Building Types Subject Index Passing Laterally 262 Index of Locations Identifying Building Types 264 04000191011 Index of Persons Emphasizing Types 266 Index of Media Enclosing Urban Rooms 268 Informing the Street Section 270 Negotiating Stairs and Ramps 272 Strolling through Place 274 www.ebook3000.com
7 Probing the Details 196 Finding Rooms within Rooms 198 Sheltering within a Room 200 Opening Doors 202 Framing Views 204 Shading Glass 206 Adjusting Panels 208 Incorporating Furniture 210 Categorizing Joints 212 Expressing Connections 214 Joining Wood 216 Assembling with Third Things 218 Aligning Seams 220 Changing Material 222 Interlocking Masonry 224 Organizing Geometries 226 Gripping the Rail 228 Grasping Knobs 230 Studying Unintended Consequences 1 232 Studying Unintended Consequences 2 234 Engaging the Context 236 Orienting Oneself 238 Discovering Lynch’s Elements 240 Coordinating Object and Fabric 242 Resolving Geometries 244 Mediating with Shifts 246 Rotating and Pivoting 248 Screening Spaces 250 Lining with Trees 252 Layering Space 254 Corresponding Solid and Void 256 Highlighting Space in Fabric 258 Drawing the Nolli 260 Passing Laterally 262 Identifying Building Types 264 Emphasizing Types 266 Enclosing Urban Rooms 268 Informing the Street Section 270 Negotiating Stairs and Ramps 272 Strolling through Place 274 Part III Holistic Acts Introduction 278 Typological Study of Place 280 Discover Artificiality 281 Conceptual Memory of Place 282 Simply Complex 283 Capturing Sense of Place 284 A Set of Partial Interpretations 285 Speculate on Systems 286 A Meditative Experience 287 2D to 3D 288 What Makes a Place Unique 289 Lines of Thought 290 Visible Guidelines 291 The Gem and the Setting 292 In Focus 293 Acts of Appreciation 294 Self-Awareness in Drawing 295 Encounters 296 The Nature of Entry and Threshold 297 A Holistic Journey 298 Conceptual and Perceptual Drawings 299 Appendix Bibliography 302 Photo Credits 305 On the Author 306 Acknowledgements 306 Index of Buildings 307 Index of Building Types 307 Subject Index 308 Index of Locations 309 Index of Persons 310 Index of Media 311 001-007_DD_part_0_final.indd 7 24.09.12 16:11 www.ebook3000.com
Preface Drawing a building is a way of remembering it properly. The intention of this book is to help students develop an To draw you have to look very hard and I think it is in appreciation for observation and learning about the the looking itself that the building is impressed upon designed environment through freehand drawing.By the mind.Often I measure it and make a plan,putting observing I mean,as Caroline Mauduit endorses in her the dimensions on the drawing,because I know from introduction to An Architect in Italy,that we consider the experience that only by doing that can I understand designed,and by extension,the natural environment what I'm looking at. carefully with a critical and inquisitive eye.Carefulness is vital in reaching below the surface and beyond what is Caroline Mauduit,An Architect in Italy' literal.Unlike the casual glance or photograph,even the fastest,literal drawing is an inherently careful and active engagement.Drawing is a way of digesting the environ- ment in order to come away with a greater understanding of how the environment might have been formed,what it contributes or does not contribute and what lessons might be embedded in it.While I do not offer definitive methods, I do offer an approach that might lead to a disciplined search when truly looking at buildings.In the fifteen years of teaching freehand analysis,I have come to believe that students need an introduction to a methodology that can inform and guide yet not constrain them.I have made mistakes and have constantly revised the courses and ways to introduce a methodological approach.Some years I seem to get it and then,when I try to duplicate it the following year,I stumble. www.ebook3000.com
8 Preface Drawing a building is a way of remembering it properly. To draw you have to look very hard and I think it is in the looking itself that the building is impressed upon the mind. Often I measure it and make a plan, putting the dimensions on the drawing, because I know from experience that only by doing that can I understand what I’m looking at. Caroline Mauduit, An Architect in Italy1 The intention of this book is to help students develop an appreciation for observation and learning about the designed environment through freehand drawing. By observing I mean, as Caroline Mauduit endorses in her introduction to An Architect in Italy, that we consider the designed, and by extension, the natural environment carefully with a critical and inquisitive eye. Carefulness is vital in reaching below the surface and beyond what is literal. Unlike the casual glance or photograph, even the fastest, literal drawing is an inherently careful and active engagement. Drawing is a way of digesting the environment in order to come away with a greater understanding of how the environment might have been formed, what it contributes or does not contribute and what lessons might be embedded in it. While I do not offer definitive methods, I do offer an approach that might lead to a disciplined search when truly looking at buildings. In the fifteen years of teaching freehand analysis, I have come to believe that students need an introduction to a methodology that can inform and guide yet not constrain them. I have made mistakes and have constantly revised the courses and ways to introduce a methodological approach. Some years I seem to get it and then, when I try to duplicate it the following year, I stumble. 008-057_DD_part_0-1_final.indd 8 24.09.12 16:12 www.ebook3000.com