The translation of an architectural experience into an architectural process is a particularly important issue for architects.A part of this translation is understanding the role of material and dimension,those quantifiable aspects of architecture that frame an architectural experience.The experience of place,while one of quality,is ultimately one in which the architect or other designer writes directions for others to build.The madrasa in Turkey was more than likely built by a craftsman under directions of an architect. It can be imagined that the architect conceived,tested, resolved and otherwise designed the madrasa and then (or perhaps during construction)communicated those ideas in some form.The architect's decisions were communicated -either verbally or perhaps even graphically-to the crafts- men to position the columns,to keep the courtyard's floor continuous beyond the edge of the column line and then to step down a specific dimension were quantities that would lead to an experience by those who moved through and used the building. An architect at the end of the design process can only write directions that she or he hopes will be followed and result in the anticipated outcome.To assess whether these directions are "good"or "bad"depends signifi- cantly on correlation,the correlation between direction and anticipated outcome,enhanced with an understanding of history,theory,human experience,nature of materials, dimension,scale and other qualities that might arise from quantities.All this will allow the architect to embed those directions(and hope that those directions are followed) with intentions in a way to result in a quality experience. Drawing as a means to explore the world was not entirely new for me.According to my family,I had been doing similar things since I was a child.My mother saved two of my childhood drawings from when I was about seven or eight years old.Like many other children's depictions, these are worlds that I created and explored through drawing.The first drawing is a section through a house showing its rooms,stairs,furniture and fireplace.It also reveals secret subterranean chambers with piles of gold bullions and tunnels leading to a helicopter hangar with a movable roof.My next drawing is that same house but after a devastating deluge.Fortunately,Superman saves the day and lifts the house just as the water covers the ground and floods the tunnels.As he lifts the house,things are torn away and everything inside tumbles to one side. Fortunately,a tethered balloon lifts the car while the helicopter flies away without a second to spare! While I cannot recall exactly what my strange little mind was thinking,it appears as if I was creating and exploring a world.I was speculating through drawing.Fortunately,my parents and most of my teachers encouraged this specula- tive exploration. (From the author's files.) Section through a house before the flood,followed by the house saved by Superman and a balloon g
14 The translation of an architectural experience into an architectural process is a particularly important issue for architects. A part of this translation is understanding the role of material and dimension, those quantifiable aspects of architecture that frame an architectural experience. The experience of place, while one of quality, is ultimately one in which the architect or other designer writes directions for others to build. The madrasa in Turkey was more than likely built by a craftsman under directions of an architect. It can be imagined that the architect conceived, tested, resolved and otherwise designed the madrasa and then (or perhaps during construction) communicated those ideas in some form. The architect’s decisions were communicated – either verbally or perhaps even graphically – to the craftsmen to position the columns, to keep the courtyard’s floor continuous beyond the edge of the column line and then to step down a specific dimension were quantities that would lead to an experience by those who moved through and used the building. An architect at the end of the design process can only write directions that she or he hopes will be followed and result in the anticipated outcome. To assess whether these directions are “good” or “bad” depends significantly on correlation, the correlation between direction and anticipated outcome, enhanced with an understanding of history, theory, human experience, nature of materials, dimension, scale and other qualities that might arise from quantities. All this will allow the architect to embed those directions (and hope that those directions are followed) with intentions in a way to result in a quality experience. Drawing as a means to explore the world was not entirely new for me. According to my family, I had been doing similar things since I was a child. My mother saved two of my childhood drawings from when I was about seven or eight years old. Like many other children’s depictions, these are worlds that I created and explored through drawing. The first drawing is a section through a house showing its rooms, stairs, furniture and fireplace. It also reveals secret subterranean chambers with piles of gold bullions and tunnels leading to a helicopter hangar with a movable roof. My next drawing is that same house but after a devastating deluge. Fortunately, Superman saves the day and lifts the house just as the water covers the ground and floods the tunnels. As he lifts the house, things are torn away and everything inside tumbles to one side. Fortunately, a tethered balloon lifts the car while the helicopter flies away without a second to spare! While I cannot recall exactly what my strange little mind was thinking, it appears as if I was creating and exploring a world. I was speculating through drawing. Fortunately, my parents and most of my teachers encouraged this speculative exploration. (From the author’s files.) Section through a house before the flood, followed by the house saved by Superman and a balloon 008-057_DD_part_0-1_final.indd 14 24.09.12 16:12
INTRODUCTION This book is conceived as a companion for architecture the computational power of a mental system:for example, students and architects as they look at the world.In this a person whose linguistic intelligence is strong is able looking,it is hoped that this book will help them articulate readily to compute information that involves language."2 the seen and reveal the unseen that shape the designed The concept of multiple intelligences requires that any environment.The reader may notice that the term educational method should accommodate multiple ways of "designed environment"is used as much as "architecture' investigating and observing the designed environment or "urban design",as these disciplines often involve and overlap with interior architecture,furniture,lighting, In his book Five Minds of the Future,Gardner speculates electronic equipment,web design,writing and even on the ways in which higher education and,specifically, advertising.Likewise,many students who complete their professional programs might prepare effective thinkers and formal and even their practical architectural education leaders for the 215t century.He proposes that to thrive and move into related design fields,such as digital gaming and contribute on a global scale,professionals such as archi- film production,and are informed by the principles tects will need to nurture aptitudes that are disciplined outlined in schools,in practice -and in this book.Lastly, synthesizing,creative,respectful and ethical.3 Disciplined the environment that is considered here should not be in that the things be considered carefully and steadily with limited to the "designed environment"but can include the time and effort;synthesizing in that they process and blend natural environment.Looking carefully at a leaf or a natural information that arises unexpectedly and from unfamiliar system is just as vital as looking carefully at an urban space sources;creative in that they propose alternative solutions to new problems;respectful in that they work with varied As a companion,the book is conceived to help students cultures and personalities;and ethical in that they consider develop an eye for looking at the designed environment and reflect upon the moral implications of our actions.All that leads to an individual analytical method.Through of these describe a designer who looks carefully at history, diagrams and analytical drawings,the architect looking at a by processing it and transforming it.Architecture students building tries to understand the underlying systems or can not only apply the lessons learned but by engaging in forces that make the building what it is. the intellectual inquiry itself can approach new and unforeseen,albeit informed,challenges.Much of this Finally,the book tries to bridge formal analysis,in which multiplicity can be anticipated by a multiplicity of thinking the architectural artifact is analyzed as an autonomous and representation in which the architect does not adopt object pulled from its physical and historical context,with isolated approaches,media or even design projects.By the in situ experience.While formal analysis is necessary, looking carefully at buildings,the designer may come to an architect must also place analysis in the contextual and respect and learn from context and understand the role of phenomenological framework in order to understand that designers in making and shaping the built environment. architecture is more than the formal sum of it parts. A particularly important aspect of this book is the observa- This book proposes specific reasons and methods for tion of buildings in situ.I have been asked by students examining the designed environment through sketching. "Why can't we simply sketch from a photograph of a Rather than a definitive pedagogical method or answer, building or urban space?"For most students,educators what is assembled here is a proposal based on my experi- and architects,these questions come as a surprise.Most ence as a teacher,as a student and as an architect.More know that sketching at a site is much more valuable than importantly,it is based on my conversations with other sketching from a photograph or slide.But why is it so?And educators,architects and designers and my research in if diagramming from a slide is ineffective,why do the same the fields of education,psychology and philosophy that educators who disdain drawing from slides assign plan or have led me to this point and to writing this book. facade analyses based on existing drawings to understand precedents in architecture? A great influence on my teaching are the writings of Howard Gardner.A research psychologist,protessor, Suffice it to say,there are many ways to look at a building.I writer and co-founder of Harvard University's Project Zero, am guilty,if that is the crime,of asking students to diagram Gardner has developed a theory of intelligence types that plans and facade drawings,just as much as I expound the are examined in his book Frames of Mind:The Theory of need to look at buildings,in the flesh.That said,the Multiple Intelligences.1 These types,which he has added intention of this book is to explore the need to examine a to and modified since first devised,categorize the varied building,space or designed object as an experience.The ways in which people conceive of the world.Intelligences aim of any design object is experience.While architecture do not simply mean that a person will learn this or that provides shelter and elevates our cultural,sacred,social way or that there are specific learning styles with commen- and personal lives,it is ultimately about experience.As an surate teaching methods.Rather they are ways to help us experience,it is about moving through,walking into it, understand that there is no one way to conceive of the sitting in it,grasping it or looking around it.It is about the world.As Gardner writes:"Styles refer to the customary way nature of the designed environment within its setting. in which an individual approaches a range of materials-for example,a playful or a planful style.Intelligence refers to 15
15 Introduction This book is conceived as a companion for architecture students and architects as they look at the world. In this looking, it is hoped that this book will help them articulate the seen and reveal the unseen that shape the designed environment. The reader may notice that the term “designed environment” is used as much as “architecture” or “urban design”, as these disciplines often involve and overlap with interior architecture, furniture, lighting, electronic equipment, web design, writing and even advertising. Likewise, many students who complete their formal and even their practical architectural education move into related design fields, such as digital gaming and film production, and are informed by the principles outlined in schools, in practice – and in this book. Lastly, the environment that is considered here should not be limited to the “designed environment” but can include the natural environment. Looking carefully at a leaf or a natural system is just as vital as looking carefully at an urban space. As a companion, the book is conceived to help students develop an eye for looking at the designed environment that leads to an individual analytical method. Through diagrams and analytical drawings, the architect looking at a building tries to understand the underlying systems or forces that make the building what it is. Finally, the book tries to bridge formal analysis, in which the architectural artifact is analyzed as an autonomous object pulled from its physical and historical context, with the in situ experience. While formal analysis is necessary, an architect must also place analysis in the contextual and phenomenological framework in order to understand that architecture is more than the formal sum of it parts. This book proposes specific reasons and methods for examining the designed environment through sketching. Rather than a definitive pedagogical method or answer, what is assembled here is a proposal based on my experience as a teacher, as a student and as an architect. More importantly, it is based on my conversations with other educators, architects and designers and my research in the fields of education, psychology and philosophy that have led me to this point and to writing this book. A great influence on my teaching are the writings of Howard Gardner. A research psychologist, professor, writer and co-founder of Harvard University’s Project Zero, Gardner has developed a theory of intelligence types that are examined in his book Frames of Mind: The Theory of Multiple Intelligences. 1 These types, which he has added to and modified since first devised, categorize the varied ways in which people conceive of the world. Intelligences do not simply mean that a person will learn this or that way or that there are specific learning styles with commensurate teaching methods. Rather they are ways to help us understand that there is no one way to conceive of the world. As Gardner writes: “Styles refer to the customary way in which an individual approaches a range of materials – for example, a playful or a planful style. Intelligence refers to the computational power of a mental system: for example, a person whose linguistic intelligence is strong is able readily to compute information that involves language.”2 The concept of multiple intelligences requires that any educational method should accommodate multiple ways of investigating and observing the designed environment. In his book Five Minds of the Future, Gardner speculates on the ways in which higher education and, specifically, professional programs might prepare effective thinkers and leaders for the 21st century. He proposes that to thrive and contribute on a global scale, professionals such as architects will need to nurture aptitudes that are disciplined, synthesizing, creative, respectful and ethical. 3 Disciplined in that the things be considered carefully and steadily with time and effort; synthesizing in that they process and blend information that arises unexpectedly and from unfamiliar sources; creative in that they propose alternative solutions to new problems; respectful in that they work with varied cultures and personalities; and ethical in that they consider and reflect upon the moral implications of our actions. All of these describe a designer who looks carefully at history, by processing it and transforming it. Architecture students can not only apply the lessons learned but by engaging in the intellectual inquiry itself can approach new and unforeseen, albeit informed, challenges. Much of this multiplicity can be anticipated by a multiplicity of thinking and representation in which the architect does not adopt isolated approaches, media or even design projects. By looking carefully at buildings, the designer may come to respect and learn from context and understand the role of designers in making and shaping the built environment. A particularly important aspect of this book is the observation of buildings in situ. I have been asked by students, “Why can’t we simply sketch from a photograph of a building or urban space?” For most students, educators and architects, these questions come as a surprise. Most know that sketching at a site is much more valuable than sketching from a photograph or slide. But why is it so? And if diagramming from a slide is ineffective, why do the same educators who disdain drawing from slides assign plan or façade analyses based on existing drawings to understand precedents in architecture? Suffice it to say, there are many ways to look at a building. I am guilty, if that is the crime, of asking students to diagram plans and façade drawings, just as much as I expound the need to look at buildings, in the flesh. That said, the intention of this book is to explore the need to examine a building, space or designed object as an experience. The aim of any design object is experience. While architecture provides shelter and elevates our cultural, sacred, social and personal lives, it is ultimately about experience. As an experience, it is about moving through, walking into it, sitting in it, grasping it or looking around it. It is about the nature of the designed environment within its setting. 008-057_DD_part_0-1_final.indd 15 24.09.12 16:12
To link the lessons of formal analysis with the phenom- The primary intention of this book is to foster an apprecia- enological is a particular intention of this book.Formal tion of the process of observation with the ultimate goals analysis is breaking the piece of art,architecture or other of attaining factual knowledge (what some call a "library thing as an autonomous artifact separate from its social of images,ideas,solutions,etc.)and procedural knowl- cultural,economic and historical context in which it was edge(the ability to observe,develop a sense of looking) formed and exists.The aim of formal analysis is to under- that leads,it is hoped,to a more informed,insightful and stand the artifact itself in order to digest the lessons of rounded design process. dimension,material,form and spatial sequence that are independent of ephemeral context.A door is just a door The degree,use and deliberateness of factual and proce and,therefore,can be studied as such,without immediate dural knowledge are indefinite.For some designers, concern for why it was chosen,the doorframe,who uses it sketching is a means of assembling a catalog that is both and how it links to the spatial sequence.The value of literal and figurative.Some designers refer to and begin formal analysis is that we can examine the thing in a their own design solutions using the literal types,arche- discipline and with depth.That said,formal analysis of types,elements or moves that they have observed.A buildings may restrict thinking,especially if it embeds particular window or a particular detail is literally trans- thinking that elevates formal organization strategies or, ferred into their work.Others abstract the observed worse,adopts unprocessed formal elements unresponsive elements of their catalog in their work so that the idea of a to needs beyond the formal type particular window or a particular detail informs their work Regardless of how literal or figurative this catalog refer- There is value in formal analysis.I employ many of its ence system may be,it is difficult to say where in the techniques in this book and in my courses and design literal/conceptual,conscious/unconscious spectrum the studios.It is one essential method for examining archi- observer's past plays a role in a designer's work.Regardless tecture.But architecture is a contextual discipline.It does of where the architect may fall in this spectrum,most not stand alone but reflects and informs history,society, architects would agree that the past does play an impor- culture,physical context and tradition.It is part of a larger tant role in their own work.Just as it is impossible to whole and contributes,one would hope,in some way to predict or stipulate how the observed past informs con that whole.Therefore it is important that the designer be temporary work,it is quite impossible to stipulate a way in able to look at a thing both autonomously and contextually which architects and designers learn about the designed so that in the design process the designer might bridge environment.For some,drawing,drawing tools,sketch- the two and rather look at the artifact as "both/and" book types or collage are individual means to observe the instead of "either/or".In order to develop a multifaceted environment. design process,a designer must develop a multifaceted analytical approach that engages multiple contexts.Bill What is clear,however,is that regardless of method,the Buxton,a principal researcher at Microsoft Research and process requires carefulness and deliberateness.How can the author of Sketching User Experiences:Getting the analysis investigate the underlying issues-the tectonic Design Right and the Right Design,notes that "as tech- expression,the organization,etc.-yet in the dissection nology becomes more and more pervasive,it is finding not "kill"the building?The major issue here is that itself in increasingly diverse and specialized contexts.The sometimes the act of taking the thing apart kills it.Does a technologies that we design do not,and never will,exist chef,in order to understand a good meal,destroy it or in a vacuum.In any meaningful sense,they only have enjoy it?A musician hears music.Is this necessarily meaning,or relevance,in a social and physical context. destroying it?Analysis and appreciation of the un-analyz- And increasingly,that social context is with respect to able are not mutually exclusive.You can appreciate the other devices as well as people."4 unspoken quality and still dissect the formal characteristics The approach adopted in this book and in my courses is Drawing can be intimidating and slow.There is often one that attempts to bridge formal and phenomenological no immediate reward offered like that of a digital photo- analysis of the designed environment.The analysis is graph.Once I asked a teacher of mine how long it took to primarily about looking at buildings as an experience that sketch a particular building and he said "years".Even the is shaped by formal material moves.This is a phenomeno- accomplished and experienced architect will be frustrated logical approach that has as its basis the goal of becoming by a mistake or ill-conceived diagram or perspective.The attuned to and conscious of the everyday.Essentially,the fundamental issue that helps anyone overcome this is goal is to achieve what Christian Norberg-Schulz called practice. poetic awareness"in which an architect or architecture student is aware of that which makes architecture,urban design and other design more than a functional or utilitar- ian response to problems.5 Often we are confronted with problem solving,but more than solving the problem we are asked perhaps to solve the problem poetically,to ask better questions that arise out of questioning
16 To link the lessons of formal analysis with the phenomenological is a particular intention of this book. Formal analysis is breaking the piece of art, architecture or other thing as an autonomous artifact separate from its social, cultural, economic and historical context in which it was formed and exists. The aim of formal analysis is to understand the artifact itself in order to digest the lessons of dimension, material, form and spatial sequence that are independent of ephemeral context. A door is just a door and, therefore, can be studied as such, without immediate concern for why it was chosen, the doorframe, who uses it and how it links to the spatial sequence. The value of formal analysis is that we can examine the thing in a discipline and with depth. That said, formal analysis of buildings may restrict thinking, especially if it embeds thinking that elevates formal organization strategies or, worse, adopts unprocessed formal elements unresponsive to needs beyond the formal type. There is value in formal analysis. I employ many of its techniques in this book and in my courses and design studios. It is one essential method for examining architecture. But architecture is a contextual discipline. It does not stand alone but reflects and informs history, society, culture, physical context and tradition. It is part of a larger whole and contributes, one would hope, in some way to that whole. Therefore it is important that the designer be able to look at a thing both autonomously and contextually so that in the design process the designer might bridge the two and rather look at the artifact as “both/and” instead of “either/or”. In order to develop a multifaceted design process, a designer must develop a multifaceted analytical approach that engages multiple contexts. Bill Buxton, a principal researcher at Microsoft Research and the author of Sketching User Experiences: Getting the Design Right and the Right Design, notes that “as technology becomes more and more pervasive, it is finding itself in increasingly diverse and specialized contexts. The technologies that we design do not, and never will, exist in a vacuum. In any meaningful sense, they only have meaning, or relevance, in a social and physical context. And increasingly, that social context is with respect to other devices as well as people.”4 The approach adopted in this book and in my courses is one that attempts to bridge formal and phenomenological analysis of the designed environment. The analysis is primarily about looking at buildings as an experience that is shaped by formal material moves. This is a phenomenological approach that has as its basis the goal of becoming attuned to and conscious of the everyday. Essentially, the goal is to achieve what Christian Norberg-Schulz called “poetic awareness” in which an architect or architecture student is aware of that which makes architecture, urban design and other design more than a functional or utilitarian response to problems.5 Often we are confronted with problem solving, but more than solving the problem we are asked perhaps to solve the problem poetically, to ask better questions that arise out of questioning. The primary intention of this book is to foster an appreciation of the process of observation with the ultimate goals of attaining factual knowledge (what some call a “library” of images, ideas, solutions, etc.) and procedural knowledge (the ability to observe, develop a sense of looking) that leads, it is hoped, to a more informed, insightful and rounded design process. The degree, use and deliberateness of factual and procedural knowledge are indefinite. For some designers, sketching is a means of assembling a catalog that is both literal and figurative. Some designers refer to and begin their own design solutions using the literal types, archetypes, elements or moves that they have observed. A particular window or a particular detail is literally transferred into their work. Others abstract the observed elements of their catalog in their work so that the idea of a particular window or a particular detail informs their work. Regardless of how literal or figurative this catalog reference system may be, it is difficult to say where in the literal/conceptual, conscious/unconscious spectrum the observer’s past plays a role in a designer’s work. Regardless of where the architect may fall in this spectrum, most architects would agree that the past does play an important role in their own work. Just as it is impossible to predict or stipulate how the observed past informs contemporary work, it is quite impossible to stipulate a way in which architects and designers learn about the designed environment. For some, drawing, drawing tools, sketchbook types or collage are individual means to observe the environment. What is clear, however, is that regardless of method, the process requires carefulness and deliberateness. How can analysis investigate the underlying issues – the tectonic expression, the organization, etc. – yet in the dissection not “kill” the building? The major issue here is that sometimes the act of taking the thing apart kills it. Does a chef, in order to understand a good meal, destroy it or enjoy it? A musician hears music. Is this necessarily destroying it? Analysis and appreciation of the un-analyzable are not mutually exclusive. You can appreciate the unspoken quality and still dissect the formal characteristics. Drawing can be intimidating and slow. There is often no immediate reward offered like that of a digital photograph. Once I asked a teacher of mine how long it took to sketch a particular building and he said “years”. Even the accomplished and experienced architect will be frustrated by a mistake or ill-conceived diagram or perspective. The fundamental issue that helps anyone overcome this is practice. 008-057_DD_part_0-1_final.indd 16 24.09.12 16:12
INTRODUCTION Even those with the most advanced skills such as Olympic athletes,star dancers or chief surgeons must continually hone their talents.Though talent plays a role-especially in the most advanced athletes or elite in their fields-the simple answer of "practice"can elevate even the most awkward to some grace.For example,research in chess and spatial thinking examined the differences between the skills of master (professional),advanced (weekly or monthly)and novice(just starting)chess players.It was assumed that masters could see possible moves further into the future than the advanced and novice players.The research showed,however,that the primary difference between all levels was practice.More interesting was that the master and advanced player have a nearly equal ability to see potential moves,but the master who has practiced for thousands of hours(and has an interest to do so)is able to focus on those that are relevant to the situation and can review them more quickly.While aptitude and interest are key factors,even the most novice player can advance to near master level if time is dedicated to practice The book is divided into three parts.Part One is a review of the approach in terms of why it is important to observe, analyze and synthesize the design environment,the ways in which analysis and drawing are critical in developing architectural awareness and a review of research on diagramming and drawing.Part Two of the book is a collection of diagrams that students might use as models or as archetypes that can help them diagram buildings, urban spaces and other aspects of the designed environ- ment.The critical step here is that analysis and synthesis must be learned.To simply ask a student to "diagram the building"is insufficient.Students must be shown what a diagram looks like,how it might have been developed and how to abstract that which is an experience.Diagramming, like outlining a book,dissecting a piece of music or taking apart a meal,is a skill that must be learned.Organized as Actions of and Actions upon plan,section and facade conventions and on urban and detail scales,these actions or acts can help both the novice and the experienced architect communicate,understand and ultimately ques- tion those actions.Part Three is a collection of sketchbook pages by architecture students and architects that combine multiple diagrams in order to understand a building. object,urban space or other place holistically.Like the many tools used to analyze and understand anything from the human body to car engines,the many diagrams 1 Gardner,Howard,Frames of Mind:The Theory of Multiple combined in these sketchbook pages show how place is Intelligences.New York:Basic best understood through varied tools or lenses. Books(1983). 2 Website:Project Zero The book is meant to be a starting point.It is hoped that it http://www.howardgardner. can help develop an appreciation of observation and of com/FAQ/FREQUENTLY%20 really looking at and seeing the world.This in turn can only ASKED%20QUESTIONS%20 Updated%20March%2009.pdf. help the young architect learn and then add with a degree of responsibility to that environment.The methodology 3 Gardner,Howard,Five Minds of that is proposed should be seen as a framework that the Future.Boston:Harvard Business School Press(2007) should be modified and adapted to the student's indi 30-35. vidual way of learning and thinking. 4 Buxton,William,Sketching User Experiences:Getting the Design Right and the Right Design.Amsterdam:Elsevier/ Morgan Kaufmann(2007):32. 5 Norberg-Schulz,Christian,The Concept Of Dwelling:On The Way To Figurative Architecture Milan:Electa (1985):135. 17
17 Introduction Even those with the most advanced skills such as Olympic athletes, star dancers or chief surgeons must continually hone their talents. Though talent plays a role – especially in the most advanced athletes or elite in their fields – the simple answer of “practice” can elevate even the most awkward to some grace. For example, research in chess and spatial thinking examined the differences between the skills of master (professional), advanced (weekly or monthly) and novice (just starting) chess players. It was assumed that masters could see possible moves further into the future than the advanced and novice players. The research showed, however, that the primary difference between all levels was practice. More interesting was that the master and advanced player have a nearly equal ability to see potential moves, but the master who has practiced for thousands of hours (and has an interest to do so) is able to focus on those that are relevant to the situation and can review them more quickly. While aptitude and interest are key factors, even the most novice player can advance to near master level if time is dedicated to practice. The book is divided into three parts. Part One is a review of the approach in terms of why it is important to observe, analyze and synthesize the design environment, the ways in which analysis and drawing are critical in developing architectural awareness and a review of research on diagramming and drawing. Part Two of the book is a collection of diagrams that students might use as models or as archetypes that can help them diagram buildings, urban spaces and other aspects of the designed environment. The critical step here is that analysis and synthesis must be learned. To simply ask a student to “diagram the building” is insufficient. Students must be shown what a diagram looks like, how it might have been developed and how to abstract that which is an experience. Diagramming, like outlining a book, dissecting a piece of music or taking apart a meal, is a skill that must be learned. Organized as Actions of and Actions upon plan, section and façade conventions and on urban and detail scales, these actions or acts can help both the novice and the experienced architect communicate, understand and ultimately question those actions. Part Three is a collection of sketchbook pages by architecture students and architects that combine multiple diagrams in order to understand a building, object, urban space or other place holistically. Like the many tools used to analyze and understand anything from the human body to car engines, the many diagrams combined in these sketchbook pages show how place is best understood through varied tools or lenses. The book is meant to be a starting point. It is hoped that it can help develop an appreciation of observation and of really looking at and seeing the world. This in turn can only help the young architect learn and then add with a degree of responsibility to that environment. The methodology that is proposed should be seen as a framework that should be modified and adapted to the student’s individual way of learning and thinking. 1 Gardner, Howard, Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books (1983). 2 Website: Project Zero http://www.howardgardner. com/FAQ/FREQUENTLY%20 ASKED%20QUESTIONS%20 Updated%20March%2009.pdf. 3 Gardner, Howard, Five Minds of the Future. Boston: Harvard Business School Press (2007): 30-35. 4 Buxton, William, Sketching User Experiences: Getting the Design Right and the Right Design. Amsterdam: Elsevier/ Morgan Kaufmann (2007): 32. 5 Norberg-Schulz, Christian, The Concept Of Dwelling: On The Way To Figurative Architecture. Milan: Electa (1985): 135. 008-057_DD_part_0-1_final.indd 17 24.09.12 16:12
SKETCHING,THINKING,LEARNING Sketching,Thinking,Learning 20 Sketching as a Bodily Skill 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 3 Formal Analysis 40 Context-bound Critical Analysis Analysis from a Dynamic Intermediate Position 41 Not All Sketches are Equal: Syntactic Sketch Diagrams 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 2 Drawing the Lines 2 Building a Drawing Habits to Help Development of Tool Use Reflective Practice 32 SPQR 3 Line and Time Budgets 3 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 6
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 56 008-057_DD_part_0-1_final.indd 18 24.09.12 16:12