Understanding Architecture Through Drawing Second Edition 京 Brian Edwards
Understanding Architecture Through drawing Second Edition This new edition is fully revised and updated and includes new chapters on sustainability,history and archaeology,designing through drawing and drawing in architectural practice.The book introduces design and graphic techniques aimed to help designers increase their understanding of buildings and places through drawing.For many,the camera has replaced the sketchbook,but here the author argues that freehand drawing as a means of analysing and understanding buildings develops visual sensitivity and awareness of design. By combining design theory with practical lessons in drawing,Understanding Architecture Through Drawing encourages the use of the sketchbook as a creative and critical tool.The book is highly illustrated and is an essential manual on freehand drawing techniques for students of architecture, landscape architecture,town and country planning and urban design. Brian Edwards is an architect,town planner,writer,teacher and artist.He has taught in various schools and has been Professor of Architecture at Huddersfield and Heriot Watt universities and the Edinburgh School of Art.He has written over 16 books,seven of which published by Spon Press/Taylor Francis
Understanding Architecture Through Drawing Second Edition This new edition is fully revised and updated and includes new chapters on sustainability, history and archaeology, designing through drawing and drawing in architectural practice. The book introduces design and graphic techniques aimed to help designers increase their understanding of buildings and places through drawing. For many, the camera has replaced the sketchbook, but here the author argues that freehand drawing as a means of analysing and understanding buildings develops visual sensitivity and awareness of design. By combining design theory with practical lessons in drawing, Understanding Architecture Through Drawing encourages the use of the sketchbook as a creative and critical tool. The book is highly illustrated and is an essential manual on freehand drawing techniques for students of architecture, landscape architecture, town and country planning and urban design. Brian Edwards is an architect, town planner, writer, teacher and artist. He has taught in various schools and has been Professor of Architecture at Huddersfield and Heriot Watt universities and the Edinburgh School of Art. He has written over 16 books, seven of which published by Spon Press/Taylor & Francis
Contents Chapter 7 Chapter 19 The importance of practice 60 History and archaeology 160 Chapter 8 Chapter 20 From sketch to plan making Interiors 170 and documentary Chapter 21 investigation 64 Using drawing to analyse an Chapter 9 urban area 178 Sequential sketches 72 Case study 1 Chapter 10 The Merchant City, Drawing and photography 80 Glasgow 178 (with Susan Fahy) Case study 2 Acknowledgements The Bastide towns,France 187 Introduction i Part Three Case study 3 Case Studies in Drawing Japanese urbanism 192 Chapter 1 Chapter 11 The benefits of drawing Towns,townscapes and squares 90 Part Four Chapter 12 The Way Forward Part One Streets,lanes and footpaths 100 Chapter 22 Guiding Principles Chapter 13 Exploration through the sketchbook Chapter 2 Landmarks,skyline and some suitable subjects 198 city image 108 Why draw? 16 Chapter 23 Chapter 14 Chapter 3 From sketch to design 214 Gateways,entrances and Choosing the subject 30 doorways 114 Chapter 24 Designing through drawing 226 Chapter 15 Part Two The facades of buildings 122 Chapter 25 Drawing in architectural Techniques Chapter 16 practice 238 Chapter 4 Machinery,function and Perspective 38 modernism 132 Chapter 17 Bibliography 260 Chapter 5 Line and shade 46 Landscape 142 Index 262 Chapter 6 Chapter 18 Composition 50 Sustainability 152
Chapter 19 History and archaeology 160 Chapter 20 Interiors 170 Chapter 21 Using drawing to analyse an urban area 178 Case study 1 The Merchant City, Glasgow 178 Case study 2 The Bastide towns, France 187 Case study 3 Japanese urbanism 192 Part Four The Way Forward Chapter 22 Exploration through the sketchbook – some suitable subjects 198 Chapter 23 From sketch to design 214 Chapter 24 Designing through drawing 226 Chapter 25 Drawing in architectural practice 238 Bibliography 260 Index 262 Acknowledgements v Introduction vi Chapter 1 The benefits of drawing 1 Part One Guiding Principles Chapter 2 Why draw? 16 Chapter 3 Choosing the subject 30 Part Two Techniques Chapter 4 Perspective 38 Chapter 5 Line and shade 46 Chapter 6 Composition 50 Chapter 7 The importance of practice 60 Chapter 8 From sketch to plan making and documentary investigation 64 Chapter 9 Sequential sketches 72 Chapter 10 Drawing and photography 80 (with Susan Fahy) Part Three Case Studies in Drawing Chapter 11 Towns, townscapes and squares 90 Chapter 12 Streets, lanes and footpaths 100 Chapter 13 Landmarks, skyline and city image 108 Chapter 14 Gateways, entrances and doorways 114 Chapter 15 The façades of buildings 122 Chapter 16 Machinery, function and modernism 132 Chapter 17 Landscape 142 Chapter 18 Sustainability 152 Contents
Acknowledgements The author wishes first to thank those bodies that available images of sketchbook practice from earlier awarded research grants to undertake the work outlined periods. in this book,namely the Arts and Humanities Research Finally,the author wishes to thank the many Council and Edinburgh College of Art.In addition,the students of architecture from Edinburgh,Glasgow and book has drawn upon material from the Sir Basil Spence Huddersfield who kept him company with their sketch- Research Project funded by the Heritage Lottery Fund.books on study visits to places far and wide over a Various chapters use material abridged from the author's twenty-five year period. article 'The use of drawing in architectural design:some Unless stated otherwise all subsequent drawings are recent experiences from UK practice'published in by the author. Architecture Research Quarterly(ARQ)in 2005. The author is also indebted to a number of architects and designers who have provided time for interviews and given consent for the use of drawings in the book.These include Lord Foster of Riverside,Sir Terry Farrell,Sir Nicholas Grimshaw,Edward Cullinan,Bob Allies,Will Alsop,Richard Murphy,Allan Murray,Gordon Murray and Malcolm Fraser.In addition,the following architects have kindly provided drawings to augment those of the author, namely Santiago Calatrava,David Prichard,Francis Tibbalds,Derek Fraser,Richard Reid and Arup Associates. The author is particularly indebted to Nick Hirst for allowing drawings prepared as a result of his Philip Webb Travelling Scholarship to be used in the publication. The author also wishes to thank the RIBA Library, RCAHMS and the Hunterian Museum for making Acknowledgements v
Acknowledgements The author wishes first to thank those bodies that awarded research grants to undertake the work outlined in this book, namely the Arts and Humanities Research Council and Edinburgh College of Art. In addition, the book has drawn upon material from the Sir Basil Spence Research Project funded by the Heritage Lottery Fund. Various chapters use material abridged from the author’s article ‘The use of drawing in architectural design: some recent experiences from UK practice’ published in Architecture Research Quarterly (ARQ) in 2005. The author is also indebted to a number of architects and designers who have provided time for interviews and given consent for the use of drawings in the book. These include Lord Foster of Riverside, Sir Terry Farrell, Sir Nicholas Grimshaw, Edward Cullinan, Bob Allies, Will Alsop, Richard Murphy, Allan Murray, Gordon Murray and Malcolm Fraser. In addition, the following architects have kindly provided drawings to augment those of the author, namely Santiago Calatrava, David Prichard, Francis Tibbalds, Derek Fraser, Richard Reid and Arup Associates. The author is particularly indebted to Nick Hirst for allowing drawings prepared as a result of his Philip Webb Travelling Scholarship to be used in the publication. The author also wishes to thank the RIBA Library, RCAHMS and the Hunterian Museum for making available images of sketchbook practice from earlier periods. Finally, the author wishes to thank the many students of architecture from Edinburgh, Glasgow and Huddersfield who kept him company with their sketchbooks on study visits to places far and wide over a twenty-five year period. Unless stated otherwise all subsequent drawings are by the author. Acknowledgements v
Introduction The aim of this book is to explore how freehand drawing The central aim of the book is to encourage the use of can increase the level of understanding of the the sketchbook as a vehicle for learning about arch- complexities of modern architecture.In particular it seeks itecture.There is currently a revival of interest in the to provide the means whereby there can be a marriage of pedagogic role of drawing,particularly its place in the art and architecture by establishing shared values generation of architectural forms.This book looks forward and understandings.The sketchbook is a useful tool to to design practice by examining past examples using help counter the dominance of science in architectural freehand drawing as the main analytical tool.The book is education,or at least to ensure that technology is arranged thematically into four parts:the first part employed with judgement and aesthetic discrimination.presents guiding principles,the second introduces the The aim is to encourage the creation of a more humane student to the main graphic tools and drawing techniques environment by developing visual and artistic sensibilities used by the architect;the third part explains how through the practice of drawing. common design issues can be better understood through A number of themes are presented,each as a case drawing with a number of case studies of sketching study of issues facing students or practising architects. practice;the final part focuses upon examples from Since the first edition of this book was published in 1994,contemporary architectural practice with the emphasis fresh concerns have emerged and these form the basis upon current trends in drawing technique. of much of the new material presented in this edition. A characteristic of the book is the division of study There is also greater discussion of the role of sketching material into themes.The aim of sketching is not to vis-a-vis other design development tools such as model-undertake drawings of subjects that randomly catch making,computer-aided design(CAD)and photography.the eye but to explore architecture in a more systematic As a result there are a number of more theoretical fashion.The comparative analysis of material through chapters than in the first edition,as well as interviews sketching entails a more rigorous questioning than with a number of the UK's leading architects such as is possible by many other means.Once sketched,the Lord Foster,Sir Nicholas Grimshaw,Will Alsop and subject under investigation can be explored further Edward Cullinan. vi Understanding architecture through drawing
Introduction The aim of this book is to explore how freehand drawing can increase the level of understanding of the complexities of modern architecture. In particular it seeks to provide the means whereby there can be a marriage of art and architecture by establishing shared values and understandings. The sketchbook is a useful tool to help counter the dominance of science in architectural education, or at least to ensure that technology is employed with judgement and aesthetic discrimination. The aim is to encourage the creation of a more humane environment by developing visual and artistic sensibilities through the practice of drawing. A number of themes are presented, each as a case study of issues facing students or practising architects. Since the first edition of this book was published in 1994, fresh concerns have emerged and these form the basis of much of the new material presented in this edition. There is also greater discussion of the role of sketching vis-à-vis other design development tools such as modelmaking, computer-aided design (CAD) and photography. As a result there are a number of more theoretical chapters than in the first edition, as well as interviews with a number of the UK’s leading architects such as Lord Foster, Sir Nicholas Grimshaw, Will Alsop and Edward Cullinan. The central aim of the book is to encourage the use of the sketchbook as a vehicle for learning about architecture. There is currently a revival of interest in the pedagogic role of drawing, particularly its place in the generation of architectural forms. This book looks forward to design practice by examining past examples using freehand drawing as the main analytical tool. The book is arranged thematically into four parts: the first part presents guiding principles, the second introduces the student to the main graphic tools and drawing techniques used by the architect; the third part explains how common design issues can be better understood through drawing with a number of case studies of sketching practice; the final part focuses upon examples from contemporary architectural practice with the emphasis upon current trends in drawing technique. A characteristic of the book is the division of study material into themes. The aim of sketching is not to undertake drawings of subjects that randomly catch the eye but to explore architecture in a more systematic fashion. The comparative analysis of material through sketching entails a more rigorous questioning than is possible by many other means. Once sketched, the subject under investigation can be explored further – vi Understanding architecture through drawing