《设计基础》课程教学资源（电子图书）Drawn to Design——Analyzing Architecture Through FreeHand Drawing.pdf_P16-P20

SKETCHING,THINKING,LEARNING Since I started teaching,I have been fortunate to hear viewed Michael mentioned that while LucasArts received stories of sketching experiences from former students who, thousands of applications showing digital work,Michael's after leaving the university,entered design practice or portfolio of sketches revealed Michael for what he was and other allied fields.Often their stories revolve around job what he could be:a person with talent,thoughtfulness and interviews,client meetings,travels or particular design promise problems in which sketching played a pivotal role.Two stories in particular illustrate why I am encouraged to keep A common thread linking these and other stories is that helping students,to keep honing my courses and why I sketching helped young architects and designers to wrote this book about sketching and analysis. question,investigate and explore manifold ideas and places as well as experience varied disciplines and fields One account is from Lindsey Dehenzel,who was in my Of course,sketching alone may not be responsible for sophomore-level introductory sketch analysis course and particularly insighttul analyses and career success stories. then in my junior-year semester in Barcelona.A typical Neither,for that matter,is sketching somehow unilaterally undergraduate student,Lindsey explored architecture "better than"a digital or any other tool.Like any tool, using multiple media:she used digital tools,hand-drafted sketching has its limits just as digital or other media. drawings,collages and cardboard models with equal ease Rather,what I hope to show and for students to see is that Fortunately,she sketched daily,which helped her discover instead of "this tool"or "that tool"a multiplicity of tools that sketching was not only calming and enjoyable but that allow for extended design explorations it could help ask questions and help explore and discover things about the designed environment and herself. I explore the one tool of sketching because I believe it Immediately after that semester in Barcelona,Lindsey can inform many tools.As a means toward multiplicity, started her first summer internship.A few days after sketching has helped me understand drawing as an beginning the new job(days spent correcting drawings on interrelationship of Sketching,Thinking and Learning. a computer),the firm's two principals asked all the summer The intention in this first part of the book is to explore interns to sit in on a preliminary round-table design these three interrelated characteristics in the context meeting with the associates and slightly more experienced of anecdotal,observational and empirical research,to intern architects.At one point during the meeting she outline the theoretical and physical context in which picked up a pen and trace paper and started to analyze, sketching and analysis occur and,lastly,to explore how diagram and draw multiple views of the site.The principals sketching is part of design learning.Hopefully,it can and others were quite impressed by her analytical insight explain how and why sketching is an influential,in fact a and design abilities.Moreover,they were surprised that vital tool in any design education. anyone in architecture schools today would be adept at sketching.As a result of her diverse abilities,she was Starting with Unremarkable Conclusions offered more design responsibilities than her peers at the At the end of "lll-Structured Representations for Ill- firm and even school friends who were interning at other Structured Problems",a synopsis of research on sketching firms.Unlike other young interns,she was able to sketch and its role in the design process,psychologist Vinod effectively,think aloud and communicate to many around Goel admits that his conclusions are"unremarkable".1 the table with a pen and paper;she not only bridged the He confesses a preaching to the choir,writing that "any gap between the principals and the younger architects but designer can tell us that sketching is important for pre was able to analyze and explore design ideas with agility. iminary design".2 And of course,Goel's conclusions come as no surprise.Many designers and educators simply A second anecdote is from Michael Licht,a former gradu- know that statement to be true:it's a matter of fact.If it ate student who,after a several years in architectural 'goes without saying",however,it is astonishing to see practice,decided to change careers and move into digital the number that do talk or write about it with varied points game design.As a student,Michael was what one might of view,explanations and advice.Architects,industrial call a digitophile.Nearly everything he did was on a disc. designers,film producers and other designers,including While he did have a sketchbook somewhere on his studio Zaha Hadid,Bill Buxton,Michael Graves,George Lucas, desk or in his backpack,it was used very rarely and Jean Nouvel,Caroline Mauduit or Cesar Pelli,have spoken begrudgingly.Unlike Lindsey,Michael was a one-medium or written about drawing and how they think through or designer.So,when he sought out the best video game explain things in sketches,remember sketch-induced designers,he applied to LucasArts with a portfolio filled eureka moments or recall some connection between with striking digital modeling and renderings of award- sketching and astute observations.Researchers and winning architectural projects that would surely impress educators within architecture and design fields such as someone at Skywalker Ranch.Unfortunately,Michael Rudolf Arnheim,Werner Oechslin,Norman Crowe,Paul received a polite "thanks-but-no-thanks"reply.Undaunted, Laseau and Edward Robbins validate commonly held he applied again but this time filled the portfolio with his beliefs with their own sketching anecdotes.3 In the 1980s travel,analytical and design sketches.LucasArts called and 1990s,anecdotal evidence led to increased research Michael for an interview and,not long after,hired him into the role of sketching in architectural education as a game designer.Later,the lead designer who inter- including research by Omer Akin,Donald Schon,Ellen 20

20 Since I started teaching, I have been fortunate to hear stories of sketching experiences from former students who, after leaving the university, entered design practice or other allied fields. Often their stories revolve around job interviews, client meetings, travels or particular design problems in which sketching played a pivotal role. Two stories in particular illustrate why I am encouraged to keep helping students, to keep honing my courses and why I wrote this book about sketching and analysis. One account is from Lindsey Dehenzel, who was in my sophomore-level introductory sketch analysis course and then in my junior-year semester in Barcelona. A typical undergraduate student, Lindsey explored architecture using multiple media: she used digital tools, hand-drafted drawings, collages and cardboard models with equal ease. Fortunately, she sketched daily, which helped her discover that sketching was not only calming and enjoyable but that it could help ask questions and help explore and discover things about the designed environment and herself. Immediately after that semester in Barcelona, Lindsey started her first summer internship. A few days after beginning the new job (days spent correcting drawings on a computer), the firm’s two principals asked all the summer interns to sit in on a preliminary round-table design meeting with the associates and slightly more experienced intern architects. At one point during the meeting she picked up a pen and trace paper and started to analyze, diagram and draw multiple views of the site. The principals and others were quite impressed by her analytical insight and design abilities. Moreover, they were surprised that anyone in architecture schools today would be adept at sketching. As a result of her diverse abilities, she was offered more design responsibilities than her peers at the firm and even school friends who were interning at other firms. Unlike other young interns, she was able to sketch effectively, think aloud and communicate to many around the table with a pen and paper; she not only bridged the gap between the principals and the younger architects but was able to analyze and explore design ideas with agility. A second anecdote is from Michael Licht, a former graduate student who, after a several years in architectural practice, decided to change careers and move into digital game design. As a student, Michael was what one might call a digitophile. Nearly everything he did was on a disc. While he did have a sketchbook somewhere on his studio desk or in his backpack, it was used very rarely and begrudgingly. Unlike Lindsey, Michael was a one-medium designer. So, when he sought out the best video game designers, he applied to LucasArts© with a portfolio filled with striking digital modeling and renderings of awardwinning architectural projects that would surely impress someone at Skywalker Ranch. Unfortunately, Michael received a polite “thanks-but-no-thanks” reply. Undaunted, he applied again but this time filled the portfolio with his travel, analytical and design sketches. LucasArts© called Michael for an interview and, not long after, hired him as a game designer. Later, the lead designer who interviewed Michael mentioned that while LucasArts© received thousands of applications showing digital work, Michael’s portfolio of sketches revealed Michael for what he was and what he could be: a person with talent, thoughtfulness and promise. A common thread linking these and other stories is that sketching helped young architects and designers to question, investigate and explore manifold ideas and places as well as experience varied disciplines and fields. Of course, sketching alone may not be responsible for particularly insightful analyses and career success stories. Neither, for that matter, is sketching somehow unilaterally “better than” a digital or any other tool. Like any tool, sketching has its limits just as digital or other media. Rather, what I hope to show and for students to see is that instead of “this tool” or “that tool” a multiplicity of tools allow for extended design explorations. I explore the one tool of sketching because I believe it can inform many tools. As a means toward multiplicity, sketching has helped me understand drawing as an interrelationship of Sketching, Thinking and Learning. The intention in this first part of the book is to explore these three interrelated characteristics in the context of anecdotal, observational and empirical research, to outline the theoretical and physical context in which sketching and analysis occur and, lastly, to explore how sketching is part of design learning. Hopefully, it can explain how and why sketching is an influential, in fact a vital tool in any design education. Starting with Unremarkable Conclusions At the end of “Ill-Structured Representations for IllStructured Problems”, a synopsis of research on sketching and its role in the design process, psychologist Vinod Goel admits that his conclusions are “unremarkable”.1 He confesses a preaching to the choir, writing that “any designer can tell us that sketching is important for preliminary design”.2 And of course, Goel’s conclusions come as no surprise. Many designers and educators simply know that statement to be true: it’s a matter of fact. If it “goes without saying”, however, it is astonishing to see the number that do talk or write about it with varied points of view, explanations and advice. Architects, industrial designers, film producers and other designers, including Zaha Hadid, Bill Buxton, Michael Graves, George Lucas, Jean Nouvel, Caroline Mauduit or Cesar Pelli, have spoken or written about drawing and how they think through or explain things in sketches, remember sketch-induced eureka moments or recall some connection between sketching and astute observations. Researchers and educators within architecture and design fields such as Rudolf Arnheim, Werner Oechslin, Norman Crowe, Paul Laseau and Edward Robbins validate commonly held beliefs with their own sketching anecdotes.3 In the 1980s and 1990s, anecdotal evidence led to increased research into the role of sketching in architectural education including research by Ömer Akin, Donald Schön, Ellen Sketching, Thinking, Learning 008-057_DD_part_0-1_final.indd 20 24.09.12 16:12

Yi-Luen Do,Mark D.Gross and Craig Zimring.Even beyond architectural and design fields,from the 1960s through today,researchers such as Jean Piaget,Vinod Goel,Herbert Simon,Jill Larkin and others have advanced our understanding of psychology and helped answer why, how and what it means to draw. To help sort out the ideas,speculations and research,I examine sketch analysis and its relationship to design in three parts.Part 1 looks at sketching as a bodily skill in which the act of marking a surface is an extension of the hand and brain.Part 2 examines how analysis and diagram- matic sketching,as integral elements of our intellectual processes,help us examine the world and organize our thoughts.Part 3 examines sketching in its role as a learning tool so that we can adapt knowledge to new and unex- pected situations.Though separated,these categories are less distinct in reality.When,for instance,does skill end and thinking or learning begin?How does learning a physical skill separate from learning a conceptual skill? When is declarative knowledge distinct from procedural knowledge?These and other overlaps will be apparent at times:the ambiguity of sketching,thinking and learning is what makes the topic significant and important to an inherently ambiguous design process. 1 Goel,Vinod,"Ill-Structured Representations for lll- Structured Problems", Proceedings of the Fourteenth Annual Conference of the Cognitive Science Society. Hillsdale:Lawrence Erlbaum Associates (1992):849. 2 lbid. 3 The link between design thinking and drawing by architects,designers and filmmakers appears in books, journals and interviews, including Norman Crowe and Paul Laseau's Visual Notes for Architecs and Designers, Michael Graves'"The Necessity of Drawing:Tangible Speculation",Simon Unwin's Analysing Architecture,Sue Ferguson Gussow's Architects Draw and Marc Treib's Drawing/ Thinking:Confronting an Electronic Age.Fundamental research on the topic reveals an increased interest in the understanding of the inter relationship of drawing with physical and cognitive abilities and design including Omer Akin's Psychology of Architectural Design,Gabriela Goldschmidt's "The Dialectics of Sketching",Douglas Graf's "Diagrams",the research of Ellen Yi-Luen Do and Mark D Gross as well as Jill Larkin and Herbert Simon's seminal article "Why a Diagram is (Sometimes) Worth Ten Thousand Words" The bibliography includes references for additional research. 37

21 Yi-Luen Do, Mark D. Gross and Craig Zimring. Even beyond architectural and design fields, from the 1960s through today, researchers such as Jean Piaget, Vinod Goel, Herbert Simon, Jill Larkin and others have advanced our understanding of psychology and helped answer why, how and what it means to draw. To help sort out the ideas, speculations and research, I examine sketch analysis and its relationship to design in three parts. Part 1 looks at sketching as a bodily skill in which the act of marking a surface is an extension of the hand and brain. Part 2 examines how analysis and diagrammatic sketching, as integral elements of our intellectual processes, help us examine the world and organize our thoughts. Part 3 examines sketching in its role as a learning tool so that we can adapt knowledge to new and unexpected situations. Though separated, these categories are less distinct in reality. When, for instance, does skill end and thinking or learning begin? How does learning a physical skill separate from learning a conceptual skill? When is declarative knowledge distinct from procedural knowledge? These and other overlaps will be apparent at times: the ambiguity of sketching, thinking and learning is what makes the topic significant and important to an inherently ambiguous design process. 1 Goel, Vinod, “Ill-Structured Representations for IllStructured Problems”, Proceedings of the Fourteenth Annual Conference of the Cognitive Science Society. Hillsdale: Lawrence Erlbaum Associates (1992): 849. 2 Ibid. 3 The link between design thinking and drawing by architects, designers and filmmakers appears in books, journals and interviews, including Norman Crowe and Paul Laseau’s Visual Notes for Architecs and Designers, Michael Graves’ “The Necessity of Drawing: Tangible Speculation”, Simon Unwin’s Analysing Architecture, Sue Ferguson Gussow’s Architects Draw and Marc Treib’s Drawing/ Thinking: Confronting an Electronic Age. Fundamental research on the topic reveals an increased interest in the understanding of the interrelationship of drawing with physical and cognitive abilities and design including Ömer Akin’s Psychology of Architectural Design, Gabriela Goldschmidt’s “The Dialectics of Sketching”, Douglas Graf’s “Diagrams”, the research of Ellen Yi-Luen Do and Mark D. Gross as well as Jill Larkin and Herbert Simon’s seminal article “Why a Diagram is (Sometimes) Worth Ten Thousand Words”. The bibliography includes references for additional research. 008-057_DD_part_0-1_final.indd 21 24.09.12 16:12

22 Our tools are less innocuous than we would like to think. In fact, our tools help shape how we construct, how we investigate and, in a greater sense, how we think. It is essential, therefore, to select the right tool, learn to use that tool, know its limitations and, ultimately, understand why many tools fill a complete toolbox. Like any tool, choosing the right drawing media depends on an informed, individual user who faces varied tasks. Informed choice begins and continues with media experimentation. Sketchbooks: Size, proportion, binding and paper color, weight and texture prompt an unending search for the perfect sketchbook. I prefer a square sketchbook with thicker “all-media” off-white, medium-tooth paper with sewn binding. Wood graphite pencils produce varied line types at a low cost. While there are 20 hardness gradations from extremely soft (9B) to extremely hard (9H), the most common gradations are the middle range: B, HB, F, H and 2H. Though harder pencils produce lighter lines, all gradations can result in varied line weights depending on pressure and the paper. Lead holders offer the same line range as wood pencils but, if desired, a more precise line. A lead holder should not be confused with the click-toadvance mechanical pencil, which I avoid because of the uniformity: the same lead thickness appears with each click and thus there is little nuance. Solid woodless pencils, sheathed in a plastic or wax coating, offer the advantages of wood pencils but with possibility of broader strokes. Tactility plays a greater role in their preference: without the intervening wood there is a greater tactile connection to the lead itself. Pastels and crayons of clay, wax, charcoal or chalk are good for more broad-stroke, gestural drawing or diagramming. Kneaded erasers, unlike hard rubber erasers, “pick up” graphite in degrees rather than remove it completely, and metal pencil sharpeners, unlike plastic, tend to make a sharper point. Tools of the Trade 008-057_DD_part_0-1_final.indd 22 24.09.12 16:13