paper,often developed in parallel with model-making,are buildings that start from these sketches end up looking the beginnings of a story of design development.Drawing quite different even if they share similarities in function. is essentially a form of language and,like all languages,One has only to compare Gehry's Guggenheim Museum there are recognised codes and conventions.It has been in Bilbao with Foster's museum in Nimes to see how suggested that architectural drawing evolved for powerful is the vehicle of drawing. description rather than as a guide to new construction Freehand drawings tell us a great deal about the way (Rattenbury 2002 pxxii).In this sense,the primary role of individual architects think.They tell us,too,that architects drawing was to record or analyse an existing building as think quite differently from engineers and artists.Their opposed to anticipating the form of a new one.The sketches lack the engineers'striving for mathematical drawing was a record of culture:human activity was exactitude or the artists'freedom from graphic recorded through drawing not,in the earliest examples convention.It is often said that you can measure whether at least,projected by them.Drawing,like language,an architect thinks like an architect from his or her was an account of things seen,not a blueprint or drawings and this is one reason why sketches are often instruction to others. preferred at crits or job interviews to CAD images.The One can,however,take the parallels between drawing sketch contains the message that an architect is a and language too far:drawing does not offer the designer and not just a draughtsman or technician. complexity of a spoken language but what it lacks in The drawing is also the means by which the arch- complexity it makes up for in power and communication.itect visualises,tests and orders imagined relationships Drawing,like the language of words and mathematics,(Lambert 1998 pp8-9).The drawing is a construct that seeks to give meaning and order to very complicated starts in the mind of the architect and becomes manifest worlds.It is a tool that is both representational and,on paper,where it can be shared with others and further looking forward,allows for the 'meaningful ordering of developed.To become a building there is the participation things in the environment'(Lawson 1980 pp173-4).Since with two other key figures-the builder and client.As drawing is a type of language,it is used in different ways such,the drawing presents the artistic and intellectual by different architects.Some employ drawing as an ideals behind the design to those whose tasks are analytical tool,others as a form of intuition.Inspirational necessarily rather more mundane.However,as Forty drawing,which may be just a few lines and referential notes,the drawing was the prime means by which marks,varies from the type of drawing Frank Gehry the genius of the architect was set apart from the building makes to those of Norman Foster.Foster's design trades (Forty 2004 p30).Sketching and visualising drawings quickly bring order,particularly spatial and through drawing is what defines an architect and, constructional order,to the early chaos of a typical brief.arguably,should be the first skill to be developed in Gehry's drawings,on the other hand,display a search for schools of architecture. meaningful randomness,translating the functional demands of a design brief into a graphic form of non- linear logic.Both types of design drawing have their own logical processes and inner fluency,yet they instil architectural order in different ways.Hence,the resulting Why draw?29
paper, often developed in parallel with model-making, are the beginnings of a story of design development. Drawing is essentially a form of language and, like all languages, there are recognised codes and conventions. It has been suggested that architectural drawing evolved for description rather than as a guide to new construction (Rattenbury 2002 pxxii). In this sense, the primary role of drawing was to record or analyse an existing building as opposed to anticipating the form of a new one. The drawing was a record of culture: human activity was recorded through drawing not, in the earliest examples at least, projected by them. Drawing, like language, was an account of things seen, not a blueprint or instruction to others. One can, however, take the parallels between drawing and language too far: drawing does not offer the complexity of a spoken language but what it lacks in complexity it makes up for in power and communication. Drawing, like the language of words and mathematics, seeks to give meaning and order to very complicated worlds. It is a tool that is both representational and, looking forward, allows for the ‘meaningful ordering of things in the environment’ (Lawson 1980 pp173–4). Since drawing is a type of language, it is used in different ways by different architects. Some employ drawing as an analytical tool, others as a form of intuition. Inspirational drawing, which may be just a few lines and referential marks, varies from the type of drawing Frank Gehry makes to those of Norman Foster. Foster’s design drawings quickly bring order, particularly spatial and constructional order, to the early chaos of a typical brief. Gehry’s drawings, on the other hand, display a search for meaningful randomness, translating the functional demands of a design brief into a graphic form of nonlinear logic. Both types of design drawing have their own logical processes and inner fluency, yet they instil architectural order in different ways. Hence, the resulting buildings that start from these sketches end up looking quite different even if they share similarities in function. One has only to compare Gehry’s Guggenheim Museum in Bilbao with Foster’s museum in Nimes to see how powerful is the vehicle of drawing. Freehand drawings tell us a great deal about the way individual architects think. They tell us, too, that architects think quite differently from engineers and artists. Their sketches lack the engineers’ striving for mathematical exactitude or the artists’ freedom from graphic convention. It is often said that you can measure whether an architect thinks like an architect from his or her drawings and this is one reason why sketches are often preferred at crits or job interviews to CAD images. The sketch contains the message that an architect is a designer and not just a draughtsman or technician. The drawing is also the means by which the architect visualises, tests and orders imagined relationships (Lambert 1998 pp8–9). The drawing is a construct that starts in the mind of the architect and becomes manifest on paper, where it can be shared with others and further developed. To become a building there is the participation with two other key figures – the builder and client. As such, the drawing presents the artistic and intellectual ideals behind the design to those whose tasks are necessarily rather more mundane. However, as Forty notes, the drawing was the prime means by which the genius of the architect was set apart from the building trades (Forty 2004 p30). Sketching and visualising through drawing is what defines an architect and, arguably, should be the first skill to be developed in schools of architecture. Why draw? 29
Chapter 3 Choosing the subject It is no good dashing off a sketch on your first visit to in watercolour as this may suit the delineation of the pink, a new city or to an interesting building.Such hurried brown and orange walls and roofs.A classical terrace by sketches are generally poorly composed or suffer from John Nash may look its best in pencil with a soft wash of having the light in the wrong direction.It is worth taking cream added.A modern 'high tech'building such as the your time and planning the drawing carefully.The chief Lloyds Insurance offices in London or the Pompidou points to consider are: Centre in Paris could be tackled in pen and wash with brightly coloured felt-tip pens being used to pick out the what drawing materials are best for the sketch in externally placed lifts and services.Whatever materials question; are employed,the artist should try to establish a from where you should draw; relationship between the qualities of the subject and the what time of day is best for the sketch,bearing in drawing medium. mind the angle of light,especially sunlight; Deciding where you should sit to draw on location what position is best to bring out the character of raises both aesthetic and practical issues.You will often the subject and produce an attractive compostion. find that your subject is near the town centre and hence very busy,or so frequented by tourists that you can hardly Taking the first point about materials,you will probably obtain an unobstructed view.Hence you will need to plan find that certain subjects suit a particular sketching your sketch to fit in with siesta times (if in Europe),or to medium.For example,a highly decorative subject such as take place in the early morning or late evening if in the city the west front of a cathedral would suit a line drawing in centre.Sometimes you can find a quiet corner even in the pen and ink,perhaps with depth being created by a sepia busiest town,but often it will be dirty or the odours will or grey wash to indicate shadows.The interior of the not be conducive to good sketching.If you have a cathedral,on the other hand,may suit a charcoal drawing sketching stool then your options may be greatly since the darkness and solidity of the columns,vaulting increased,but try to avoid positions where crowds of and arches could be brought out in thick,grainy lines and curious children can peer over your shoulder (and maybe smudged tones.An Italian hill town may be best rendered steal your spare pencils!).If you have to find public seats, 30 Understanding architecture through drawing
Chapter 3 Choosing the subject It is no good dashing off a sketch on your first visit to a new city or to an interesting building. Such hurried sketches are generally poorly composed or suffer from having the light in the wrong direction. It is worth taking your time and planning the drawing carefully. The chief points to consider are: • what drawing materials are best for the sketch in question; • from where you should draw; • what time of day is best for the sketch, bearing in mind the angle of light, especially sunlight; • what position is best to bring out the character of the subject and produce an attractive compostion. Taking the first point about materials, you will probably find that certain subjects suit a particular sketching medium. For example, a highly decorative subject such as the west front of a cathedral would suit a line drawing in pen and ink, perhaps with depth being created by a sepia or grey wash to indicate shadows. The interior of the cathedral, on the other hand, may suit a charcoal drawing since the darkness and solidity of the columns, vaulting and arches could be brought out in thick, grainy lines and smudged tones. An Italian hill town may be best rendered in watercolour as this may suit the delineation of the pink, brown and orange walls and roofs. A classical terrace by John Nash may look its best in pencil with a soft wash of cream added. A modern ‘high tech’ building such as the Lloyds Insurance offices in London or the Pompidou Centre in Paris could be tackled in pen and wash with brightly coloured felt-tip pens being used to pick out the externally placed lifts and services. Whatever materials are employed, the artist should try to establish a relationship between the qualities of the subject and the drawing medium. Deciding where you should sit to draw on location raises both aesthetic and practical issues. You will often find that your subject is near the town centre and hence very busy, or so frequented by tourists that you can hardly obtain an unobstructed view. Hence you will need to plan your sketch to fit in with siesta times (if in Europe), or to take place in the early morning or late evening if in the city centre. Sometimes you can find a quiet corner even in the busiest town, but often it will be dirty or the odours will not be conducive to good sketching. If you have a sketching stool then your options may be greatly increased, but try to avoid positions where crowds of curious children can peer over your shoulder (and maybe steal your spare pencils!). If you have to find public seats, 30 Understanding architecture through drawing
low walls or steps to sit on,then planning in advance is only unhealthy,but the dust and dirt will mark your paper doubly necessary.You might well find that the best angles and discolour your washes.Traffic is usually unavoidable, for drawing are also those preferred by tourists,and but if you study which way the breeze is blowing you may sometimes the best sketching position places you in the be able to find an area less troubled by fumes even in shade or in a draughty corner.Drawing a Mediterranean congested cities like Rome or Athens.Often it is only a town in the warm sunshine of a June afternoon is a rare case of deciding which side of a square or street to sit in pleasure,and with good planning you may be able to find order to avoid the traffic fumes and enjoy the sunshine on a street cafe where for the price of a cup of coffee youyou and on the subject. will have an uninterrupted hour for drawing. The angle of light,and particularly of sunlight,can You are likely to produce a better sketch if you are make the difference between a good and a bad sketch, warm and have a little privacy.Besides crowds,try to and hence affect your ability to learn from the process of avoid sitting in areas full of traffic fumes since this is not drawing.You will generally need the sunshine to be on 3.1 A drawing of this complexity can only be undertaken with the facades bathed in sunlight.The level of detail and degree of patterning requires bright,preferably diagonal,light to pick out the extraordinary detail.Known as Templeton's Factory and situated in Glasgow's east end,this handsome Victorian building looks across an extensive park. Choosing the subject 31
low walls or steps to sit on, then planning in advance is doubly necessary. You might well find that the best angles for drawing are also those preferred by tourists, and sometimes the best sketching position places you in the shade or in a draughty corner. Drawing a Mediterranean town in the warm sunshine of a June afternoon is a rare pleasure, and with good planning you may be able to find a street café where for the price of a cup of coffee you will have an uninterrupted hour for drawing. You are likely to produce a better sketch if you are warm and have a little privacy. Besides crowds, try to avoid sitting in areas full of traffic fumes since this is not only unhealthy, but the dust and dirt will mark your paper and discolour your washes. Traffic is usually unavoidable, but if you study which way the breeze is blowing you may be able to find an area less troubled by fumes even in congested cities like Rome or Athens. Often it is only a case of deciding which side of a square or street to sit in order to avoid the traffic fumes and enjoy the sunshine on you and on the subject. The angle of light, and particularly of sunlight, can make the difference between a good and a bad sketch, and hence affect your ability to learn from the process of drawing. You will generally need the sunshine to be on 3.1 A drawing of this complexity can only be undertaken with the façades bathed in sunlight. The level of detail and degree of patterning requires bright, preferably diagonal, light to pick out the extraordinary detail. Known as Templeton’s Factory and situated in Glasgow’s east end, this handsome Victorian building looks across an extensive park. Choosing the subject 31
3.2(lef) Kinlochmoidart House,designed in 1884 by William Leiper and 20 drawn here in 1999 by Nick 300 Hirst as part of his Philip Webb Travelling Scholarship.The drawing is a collection of sketches and plans aimed at documentary analysis.Leiper also designed the building in Figure 3.1.(Nick Hirst) 3.3(above right) The complicated facade of the Pompidou Centre in Paris is set against a dark sky to draw attention to the building's expressive silhouette.The exposed ducting and pipework make an attractive substitute for columns and walls. 3.4(far right) Street scenes like this are best attempted when the traffic has died down.This 19th-century 'flat iron'building in Vancouver shares a busy road junction with lamp-posts,telegraph wires and the occasional delivery bicycle. Grcnre Mpated Ked Scethsh savdshre yuans also 32 Understanding architecture through drawing
3.2 (left) Kinlochmoidart House, designed in 1884 by William Leiper and drawn here in 1999 by Nick Hirst as part of his Philip Webb Travelling Scholarship. The drawing is a collection of sketches and plans aimed at documentary analysis. Leiper also designed the building in Figure 3.1. (Nick Hirst) 3.3 (above right) The complicated façade of the Pompidou Centre in Paris is set against a dark sky to draw attention to the building’s expressive silhouette. The exposed ducting and pipework make an attractive substitute for columns and walls. 3.4 (far right) Street scenes like this are best attempted when the traffic has died down. This 19th-century ‘flat iron’ building in Vancouver shares a busy road junction with lamp-posts, telegraph wires and the occasional delivery bicycle. 32 Understanding architecture through drawing
your subject and preferably at an angle rather than straight Sunlight also casts shadows,which can provide tonal on.This brings out any sculptural modelling or surface relief to a line drawing.A collection of lines can appear relief,allowing the artist to understand the nuances of the rather abstract,while shadow or shading gives the building or the intentions of its designer.Certainly it is drawing a feeling of solidity and three-dimensional form. useful to highlight or exaggerate effects of light,especially Shadows can also give an indication of buildings behind or in older buildings where time has worn away the to one side of the artist,but not in his or her field of view. sharpness of the detail.Try to avoid having the source of It is worth bearing this in mind if you are drawing in the light behind the subject,unless you are deliberately street or in a square.Shadows give an indication,too,of attempting to draw its silhouette.Cathedrals lend them-deep,canyon-like streets as against open suburban roads selves to dramatic silhouette and it is quite permissible to Sketching should aim to capture the character of places, exaggerate the effects of light on the city skyline.The and the play of sunlight with its consequent casting of Manhattan skyline or a castle such as that at Edinburgh,shadows is part of the visual repertoire to be exploited. perched on a dramatic hilltop,lend themselves to sil- The depth of shadow is important.Northern subjects houette drawing,but the sketch may benefit from having illuminated with soft light suit the faintest of shadows,but detail shown at ground level drawn as open line rather a southern Baroque church or Moorish temple is best than dark,craggy shapes.Such drawings can tell us about rendered in deep shadow.It has been suggested that the the role of the 'monuments'in the city and their prominent extent of modelling of a building's facade directly reflects position in the skyline.The role of lesser buildings and the anticipated level of sunlight,a south-or west-facing foreground detail is merely supportive-a point not always frontage being designed with plenty of deep relief whilst recognised by modern architects or town planners a north-facing facade has a more subdued quality.These Choosing the subject 33
your subject and preferably at an angle rather than straight on. This brings out any sculptural modelling or surface relief, allowing the artist to understand the nuances of the building or the intentions of its designer. Certainly it is useful to highlight or exaggerate effects of light, especially in older buildings where time has worn away the sharpness of the detail. Try to avoid having the source of light behind the subject, unless you are deliberately attempting to draw its silhouette. Cathedrals lend themselves to dramatic silhouette and it is quite permissible to exaggerate the effects of light on the city skyline. The Manhattan skyline or a castle such as that at Edinburgh, perched on a dramatic hilltop, lend themselves to silhouette drawing, but the sketch may benefit from having detail shown at ground level drawn as open line rather than dark, craggy shapes. Such drawings can tell us about the role of the ‘monuments’ in the city and their prominent position in the skyline. The role of lesser buildings and foreground detail is merely supportive – a point not always recognised by modern architects or town planners. Sunlight also casts shadows, which can provide tonal relief to a line drawing. A collection of lines can appear rather abstract, while shadow or shading gives the drawing a feeling of solidity and three-dimensional form. Shadows can also give an indication of buildings behind or to one side of the artist, but not in his or her field of view. It is worth bearing this in mind if you are drawing in the street or in a square. Shadows give an indication, too, of deep, canyon-like streets as against open suburban roads. Sketching should aim to capture the character of places, and the play of sunlight with its consequent casting of shadows is part of the visual repertoire to be exploited. The depth of shadow is important. Northern subjects illuminated with soft light suit the faintest of shadows, but a southern Baroque church or Moorish temple is best rendered in deep shadow. It has been suggested that the extent of modelling of a building’s façade directly reflects the anticipated level of sunlight, a south- or west-facing frontage being designed with plenty of deep relief whilst a north-facing façade has a more subdued quality. These Choosing the subject 33