《设计基础》课程教学资源（电子图书）Graphic Thinking for Architects & Designers

CORE THIRD EDITION Graphic Thinking for Architects Designers OBLEM:CHPUS MAG华 PAUL LASEAU

a Contents Foreword 与 8 Discovery 141 Preface to the Third Edition vii 9 Verification 163 Preface to the First Edition viii Acknowledgments ix COMMUNICATION 1 Introduction 1 10 Process 179 11 Individual Design 189 BASIC SKILLS 12 Team Design 203 2 Drawing 17 13 Public Design 217 3 Conventions 39 14 Conclusion 231 4 Abstraction 55 Notes 237 Expression 67 Bibliography 239 Illustration Credits 242 APPLIED SKILLS Index 244 6 Analysis 81 7 Exploration 115

Contents • Foreword vi 8 Discovery 141 Preface to the Third Edition vii 9 Verification 163 Preface to the First Edition viii Ack COMMUNICATION nowled gments ix 1 Int roduction 1 10 Process 179 11 Individual Design 189 BASICSKILLS 12 Team Design 203 2 Drawing 17 13 Public Design 217 3 Conventions 39 14 Conclusion 231 4 Abst raction 55 Notes 237 5 Expression 67 Bibliography 239 Illustration Credits 242 APPLIED SK Index 244 ILLS 6 Analysis 81 7 Exploration 115 v

Foreword aul Laseau proposes two related ideas:the direct the actions of others and who communicate first is that of "graphic thinking";the second their decisions to those who work through drawings is graphic thinking as a device for communi- made by draftsmen.Designing,as a separate task cation between the designer and the designed has come into being.The professional designer,the for.The following brief remarks are addressed to the professional draftsman,and the assembly line occur relationship between the two ideas. simultaneously as related phenomena. Historically,building design was not so indiffer- This all occurred some time ago,but the momen- ent to human well-being that "communication with tum of the change from craftsmanship to draftsman- the people"became an issue until the act of drawing ship,brought about by the peculiar form of was divided into two specialized activities.The first industrialization we have chosen to adopt,persists.It was design drawing,in which the designer expressed now extends to the division of labor in the designer's his or her ideas.The second was drafting used to office.The building of great buildings is no longer the instruct the builder. creation of master craftsmen led by a master builder Design drawing began as and remains a means of but of architectural offices organized along the lines of industrial production.The task of the architect has generating ideas,for tapping initial concepts to be sorted out and developed,or simply as an enjoyable been divided and subdivided into an assembly line of activity.Drafting is an eight-hour task performed designer,construction manager,interior designer, daily,filling sheets of paper with precise lines dic- decorator,structural,electrical,and mechanical engi- tated by others. neers,and draftsmen.Design decisions once made by the designer on the drawing board are now made by Long ago,when the work of individual craftsmen the programmer on computer printouts. became larger and more complex,when a cathedral There are those of us who believe that industrial- rather than a chair was to be designed,dimensions had to be established so that the work of a single ization could have been achieved without destroying craftsman could be coordinated with the work of the craftsman's skill,love,and respect for material many.Drawing was introduced as a creative device and the joy of building.We find it even less desirable for planning work. that the joy of creativity and graphic thinking that accompanies that activity should leave the designer's Craftsmen have always used drawings to help office for the memory bank of a computer. them visualize their ideas as they made adjustments The built world and artifacts around us are evi- in the continuous process of fitting parts together. dence of the almost fatal error of basing design on the Drawing under these conditions is inseparable from the work itself.Some historians say that the working mindless work of the assembly line.To develop pro- drawings for the great churches of the twelfth and gramming and operational research based on mind- less design would be to continue a disastrous historic thirteenth centuries were drawn on boards that were continuum. later nailed into the construction. But drawing also has other purposes.The division Graphic thinking is of course necessary to help of labor increases productivity.Artifacts requiring rejuvenate a moribund design system.But communi- several weeks of work by a single skilled craftsman cation "with the people"is not enough.Creativity are divided into smaller standardized work tasks. itself must be shared,and shared with everyone from dowel knocker to "Lieber Meister."The need for Production is increased as skill is eliminated.The craftsman's expression of material,design sense,and graphic thinking is great,but it is greater on the sketches are banished from the workplace.Drawings workbenches of the assembly lines at River Rouge than on the desks of the chief designers of Skidmore, and specifications predetermine all facets of the work. Owings Merrill. Design decisions are given to a new class of work- -FORREST WILSON,1980 men who do not work with the material but instead vi

Foreword P aul Las eau proposes tw o re late d ideas: th e first is th at of "graphic th inking"; th e second is gra phic thin king as a device for communi￾cati on between the de signe r and the designed for. Th e follow ing brief remarks are addressed to the relati onship betw een the two ideas. Historica lly, buildi ng design was not so indiffer￾eh t to human well-being that "com munication with the peopl e" becam e an issue until th e ac t of draw ing wa s divided into two specialized activities. The first wa s design drawi ng, in w hic h th e design er expressed his or her ideas. The second was d rafting used to instruct the builder. De sign drawing began as and remains a m eans of gen era ting ideas, for ta ppi ng initial con cepts to be sorted out and developed, or simply as an enjoyable ac tivity. Dra fting is an eight-hour task per formed daily, fill ing sheets of paper w ith precise lines dic￾tated by ot hers. Long ago, when the work of individual craftsme n beca m e larger and more com plex, when a cathedr al rather than a chair was to be designed, dimension s had to be esta blis he d so th at th e work of a single cra ftsman could be coo rd inate d with th e w ork of many. Drawing was introduced as a creativ e device for plan ning wo rk. • Cr aftsm en ha ve always used drawings to hel p th em visua lize the ir ideas as th ey made adjustments in th e continuous pro cess of fitt ing parts tog ether. Dr awing under these conditions is in separabl e from the work itself. Some historian s say th at th e working draw ings for the great churches of the tw elfth and thirteenth centuries wer e drawn on boards that wer e later nai led int o the const ruction . But drawing also has other purposes. Th e division of labor in cr eases productivity. Art ifacts requiri ng several weeks of wo rk by a single sk illed cra ftsman are d ivid ed into sm all er st andardi zed w ork tasks. Pr oduc tion is increased as skill is elimina te d. The cr aftsm an' s expression of mat eria l, design sen se, and sket ches are banished fr om the wo rkplace . Drawings an d specifications pre de te rm ine all fac ets of the work. Design decision s are give n to a new class of wo rk￾men who do not work with the mat erial but in stead • direct th e ac tions of others and who com munica te their de cision s to th ose who wo rk through dr aw ings made by draftsm en . Designing, as a separate task , has co me into being. Th e professional designer, th e profession al draftsman, and the assembly line occur simultan eously as related phenomena . This all occ urred some time ago, bu t the momen￾tum of the ch ange from craftsm an ship to draftsman￾ship , broug ht abou t by the pe culiar form of in dustrialization we have ch osen to adopt, persists. It now exte nd s to the division of labor in th e designer's office. Th e building of great bu ildings is no longer the cre ation of master craftsmen led by a master builder but of architectural offi ces organized along the lines of industrial production . The task of th e ar ch itec t has been divided and subdivided in to an as sembly line of designer, construct ion manager, in terior desi gner, decora tor, struc tural, elec trical, and mech anical engi￾neers, an d draft sm en . Design dec isions onc e made by th e designer on the drawing board ar e now made by th e programmer on comput er printou ts. There are those of us w ho believe that indu strial￾ization could have been achieved w ith out destroying the crafts man 's skill, love, and respect for material and the joy of building. We find it even less desirable tha t the jo y of creativity and graphic thi nking that accompanies th at ac tivity should leave the design er's offi ce for the memory bank of a computer. The built world and artifacts around us are ev i￾den ce of the almost fat al erro r of basing design on the mindless work of the ass embly line . To develop pro￾gramming and operat ional resea rc h based on mind￾less design would be to con tinue a dis astrous historic continu um. Graphic thinking is of course necessa ry to help rejuven ate a mo ribund design system. But communi￾ca tion "with the pe ople" is not enough . Cr ea tiv ity itself must be share d, and sha red wi th everyone from dowel kn ocker to "Liebe r Meister." The need for grap hic thinking is grea t, but it is greater on th e wor kbenches of the assembly lin es at Riv er Rouge th an on the desks of the chi ef designers of Skidmore, Ow ings & Merrill. - F ORREST W ILSON, 1980 vi

■ Preface to the Third Edition wenty years have passed since the first publi individual and the organization.One view is of indi- cation of this book.The events of the inter- viduals supporting information;the other is of infor- vening years have served to reinforce my mation supporting individuals. initial assumptions and the points made by A premise of the first edition of this book was that Forrest Wilson in the Foreword. individual,creative thinking has a vital role in a pres- The accelerated developments in personal com- ent and future society that must cope with complex. puters and their application to architectural design interrelated problems.Addressing such problems and construction have raised more forcefully the depends upon a comprehensive understanding of question of the role of individual thought and creativ- their nature rather than shoehorning them into con- ity within processes that are increasingly complex venient,simplistic,theoretical models.And visual and specialized.Will individuals experience more communication provides an important tool for opportunities for expression and contribution or will describing and understanding complexity.Increased their contributions be devalued because of the speed comprehensive,rather than specialized,knowledge and precision of computer-driven processes? in the possession of individuals should benefit both Although the Internet/web has dramatically the organization and the individual.In their book,In Search of Excellence,'Peters and Waterman illustrated increased individual access,two major philosophical that the effectiveness of organizations depends upon camps still guide computer development and applica- an understanding of values,aspirations,and mean- tions.One camp sees the computer as a way to extend and improve traditional business organization, ings that is shared by all members.We are also with its segmentation of tasks and reliance on spe- becoming more aware that the mental and physical cialists.The other camp sees the computer as a way health of individuals is a valid as well as practical concern of organizations. to revolutionize business by broadening the scope and impact of the individual to the benefit of both the vii

Preface to the Third Edition • T wenty years have passed since th e first publi￾ca tion of this book. The events of the inter￾vening ye ars have served to re inforce my in itial assump ti on s and th e poin ts made by Forrest Wilson in th e Forewor d. The ac celerated developments in persona l com￾pu ters and th eir applica tion to arch itectural des ign and constructi on ha ve raised mor e for cefully th e question of the role of individual thought and creativ￾ity wi thin p roce sse s tha t a re incr easingly complex and special ized. Will in div id uals exp erience mor e opportunities for expression and contri buti on or will their contributions be devalued because of th e speed and p recision of computer- dr iven processes? Althoug h th e In ternet /web has dra matically increased individu al access, two major philosophical camps still guide computer development and applica￾tions. One camp se es th e co mput er as a way to exten d and improve tradi tional business organizat ion, with its se gmenta tion of tasks and relianc e on spe￾cialists. The other camp see s th e computer as a way to re vo lution ize busin ess by broade ning the sc ope . and impact of th e individual to th e benefit of both the individual and the organization . One view is of ind i￾vid uals supporting information ; th e othe r is of info r￾mation supporting in dividuals. A pr emi se of the first edition of this book was that individu al, creative thinking has a vital role in a pres­ , ent and fu tur e society th at must cope with complex, interrelat ed probl ems. Add ressing such problems depends up on a compreh ensive unde rs tanding of th eir nature ra ther th an shoehorn ing them into con￾venient, simp listic, th eoretical models. And visual communi cation provides an im por tan t tool for describing and understandi ng complexity. Inc reased com prehensive, ra ther than spe cialized, know ledge in the possession of individuals should benefit both the orga nization and the individual. In their book, In Search of Excellence, I Peters and Wate rman illus trated th at the effectiveness of organizations depends up on an understanding of val ues, aspira tions, an d mean￾ings th at is shared by all me mbers. We are also be coming more aware that the mental and ph ysica l health of ind ividuals is a valid as well as practical conc er n of orga ni zations. vii

Preface to the First Edition n the fall of 1976,while participating in a discus- The creative architectural space begets creativity, sion group on design communication at the new insights,new choices.It is a catalyst for cogni- University of Wisconsin-Milwaukee,I had the tion.This suggests an ethical imperative that applies occasion to mention my book Graphic Problem not only to architects but also to anyone who acts on Solving.Essentially,that book was an attempt at con- that imperative.Act always so as to:increase, vincing architects to apply their freehand concept- enlarge,enhance the number of choices. gathering skills to nontraditional problems dealing more with the processes than the products of archi- Relating these ideas to the challenges enumerated tecture.During the discussion,Fuller Moore stated earlier,I see two corresponding imperatives: that the graphic skills I had assumed to be part of 1.Architects should solve problems with people architectural training were being neglected in the instead of for them by helping them understand schools and that a more basic book on drawing in their needs and the choices of designs that meet support of thinking was needed.Soon after,I had the those needs.This is done by bringing those who chance to talk to several architects about the sketches use the buildings into the process of designing they use to develop designs in contrast to the "fin- those buildings. ished drawings they use in presentations."Most cre- 2.Architects must better understand science and ative architects had developed impressive freehand how much it has in common with architecture. sketching skills and felt comfortable sketching while Jacob Bronowski pointed out that the creative sci- thinking.Some architects drew observations or entist is more interested in exploring and expand- design ideas in small sketchbooks they carried with ing ideas than in establishing fixed "truths."The them at all times.Both the architects and the educa- unique quality of human beings lies in the tors I interviewed expressed concern over the appar- increase rather than the decrease of diversity. ent lack of freehand graphic skills in people now entering the profession. Within this context,sketches can contribute to design,first by facilitating the exploration and diver- As I began to collect materials for this book,i sity of each designer's thinking.Second,sketches can wondered about the relevance of sketching in archi- help open up the design process by developing com- tecture.Could sketching be better applied to design- munication with people instead of presenting conclu- ing as practiced today?The answer to this question sions to people. depends on an examination of the present challenges to architectural design: The notion of graphic thinking grew out of the recognition that sketching or drawing can and should 1.To be more responsive to needs,a problem-solv- support the designer's thinking.I realize that some ing process. readers would be more comfortable with a book 2.To be more scientific,more reliable,or pre about either thinking or drawing,but I felt it was crit- dictable. ical to deal with their interaction.Pulling them apart The response to these challenges was suggested seemed to be like trying to understand how a fish by Heinz Von Foerster: swims by studying the fish and the water separately. I hope you will be able to bear with the rough spots ...the language of architecture is connotative lan- in this book and find some things that will help in guage because its intent is to initiate interpretation your work. viii

I Preface to the First Edition • n the fall of 1976, while participating in a discus￾sion group on design communication at the University of Wisconsin-Milwaukee, I had the occ asion to mention my book Graphic Problem Solving. Essentially, that book was an attempt at con￾vincing architects to apply their freehand concept￾gathering skills to nontraditional problems dealing more with the processes than the products of archi￾tecture. During the discussion, Fuller Moore stated that the graphic skills I had assumed to be part of architectural training were being neglected in the schools and that a more basic book on drawing in support of thinking was needed. Soon after, I had th e chance to talk to several architects about the sketches th ey use to develop designs in contrast to the "fin￾ished drawings th ey use in presentations." Most cre￾ative architects had developed impressive freehand sketching sk ills and felt comfortable sketching while thinking . Some architects dr ew observations or design ideas in small sketchbooks they carried with them at all times. Both the architects and th e educa￾tors I interviewed expressed concern over the appar￾en t la ck of freehand graphic skills in pe ople now entering the profession. As I began to collect materials for this book , 1 wondered about the relevance of sketching in archi￾tecture. Could sketching be better applied to design￾ing as practiced tod ay? The answer to this qu estion depends on an exami nation of the present challenges to architectur al design: 1. To be more responsive to needs, a problem-solv￾ing process. 2. To be more scientific, more reliable, or pr'> dict able. The response to these challenges was su ggested by Heinz Von Foerster: ...the language of architecture is connotative lan￾guage because its intent is to initiate interpretation. The crea tive architectural space begets creativity, new insights, new cho ices. It is a catalyst for cogni￾tion . This suggests an ethical imperative that applies not only to architects but also to anyone who acts on that imperative. Act always so as to: inc rease, enlarge, enhance the number of choices. I Relating these ideas to the challenges en umerated earlier, I see two correspo nding imperatives: 1. Ar chitects should solve problems wi th peopl e in st ead of for them by helping them understand their ne eds and the choices of designs th at me et those ne eds. This is done by bringing th ose who use the build ings into the process of de sig ning those bu ild ings. 2. Architect s must better understand science and how much it has in common with architec tur e. Jacob Bronowski pointed out th at the crea tive sci￾entist is more in teres ted in exploring and exp and￾ing ideas th an in establishing fixed "truths." The unique qual ity of human beings lies in th e increase rather than the decrease of diversity. Within this context, sketches can contribute to de sign, first by facilitating the exploration and diver￾sity of ea ch designer's th inking. Second, sketche s can help open up the design process by developing com ­ municat ion with people instead of presenting con clu￾sions to people. The notion of graphic think ing grew out of the recognition that sketchi ng or drawing can and should support the de signe r's thinking. I re ali ze that some readers would be more comfortable w ith a bo ok about either thi nking or drawi ng, but I felt it was cri t￾ical to deal with th eir inte raction . Pulling th em apart se emed to be like tr ying to unde rstand how a fish swims by studying th e fish and the water sepa rately. I hope you will be able to bear with the rough spots in this book and find som e th in gs that wi ll help in your work. viii

Acknowledgments his book is dedicated to those architects who Karl Brown for comments and other valuable assis generously took time to discuss their use of tance. drawings in design during my original and Michele Laseau for technical assistance. subsequent research.Many of them also pro- Jack Wyman,Ken Carpenter,Juan Bonta,Charles vided sketches to illustrate the text.Their dedication Sappenfield,and other present and past col- to creativity in architecture,enthusiasm for drawing, leagues at the College of Architecture and and comments about their design processes were a Planning,Ball State University for comments and great help and inspiration for my work.Among these architects,I am especially indebted to David Stieglitz, moral support. Thomas Beeby,Morse Payne,Thomas Larson, A special thanks to Forrest Wilson for his enthusi- Michael Gebhart,Romaldo Giurgola,James Tice astic support at the humbling outset of this effort. Norman Crowe,Harry Egink,Kirby Lockard,and Finally,thanks must be given to my wife,Peggy, Steven and Cathi House. and children,Michele,Kevin,and Madeleine,for Recognition is due the following people for their their great patience and sacrifices while I struggled particularly important contributions to this effort: with revisions. Fuller Moore for first suggesting the idea. Previously published drawings were pho- Robert McKim for his insights to visual thinking and tographed by Jerry Hoffman and Steven Talley. his encouragement. Jim Anderson for vital comments on graphic commu- nication ix

AcknowLedgments • T his book is ded icat ed to th ose ar chitects who generously took time to discuss their use of drawing s in de sign d uring my or iginal and su bseq uent research . Man y of th em als o pro￾vided sketches to illustrate th e text. Th eir ded ication to creativity in architecture, enthusiasm for dr awing, and com me nts about their de sign processes were a gre at he lp and inspirat ion for my work. Among the se architects, I am especiall y indeb ted to David Stieg litz, Thomas Bee by, Morse Payne , Thomas Larso n, Michae l Ge bhart, Romaldo Giurgola , Jam es Tice, Nor man Crow e, Harry Egin k, Kir by Lock ard , and Steven and Cathi House. Recognition is due th e following people for the ir particu larly important contributions to this effort: Fuller Moore for first suggesting the idea. Robert McKim for his insights to visual thin king and his en cou ragement. Jim An derson for vital comments on graph ic commu￾nication. Karl Brown for comments and other val uab le assis￾tan ce. Mi ch ele Laseau for technical assistanc e. Jack Wyman, Ken Car penter, Juan Bonta , Charles Sappenfield , and other prese nt and past col￾lea gues at the College of Architecture and Planning, Ball State University for com me n ts an d moral support. A special thanks to Forrest Wilson for his enthusi￾astic sup port at th e humbling ou tset of this effort. Fin all y, th anks must be given to my wife, Peggy, and children , Michele, Kevi n, an d Made leine, for their grea t patience and sa crifices while I struggled with revisions. Previously published draw in gs were pho￾tographed by Jerry Hoffman and Steven Talley. ix

一 中$ 上1 少都生 通 :烟州X有 Figure 1-1 By Leonardo da Vinci.Studies of fortifications

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■ 1 Introduction raphic thinking is a term I have adopted to describe thinking assisted by sketching.In architecture,this type of thinking is usually associated with the conceptual design stages of a project in which thinking and sketching work closely together as stimulants for developing ideas. Interest in this form of thinking is promoted by a reexamination of the history of architectural design, the impact of visual communication in society,and new concepts of the role of design and designers. There is actually a very strong tradition of graphic thinking in architecture.Looking through reproduc- tions of the notebooks of Leonardo da Vinci,we are struck by the dynamic thinking they reflect.It is impossible to really understand or appreciate da Vinci's thinking apart from his drawings because the graphic images and the thinking are one,a unity.A closer look at these sketches reveals certain features that are instructive for anyone interested in graphic Figure 1-2 By Edwin Lutyens.Castle Drogo and British Pavilion thinking. 1911 Exposition,Rome. 1.There are many different ideas on one page-his attention is constantly shifting from one subject to another. 2.The way da Vinci looks at problems is diverse both in method and in scale-there are often per- spectives,sections,plans,details,and panoramic views on the same page. 3.The thinking is exploratory,open-ended-the sketches are loose and fragmented while showing how they were derived.Many alternatives for extending the ideas are suggested.The spectator is invited to participate. What a marvelous example!Here is a mind in fer- ment,using drawings as a means of discovery rather than as a way to impress other people. Figure 1-3 By Edwin Lutyens.Castle Drogo and British Pavilion Although it is often difficult to find records of 1911 Exposition,Rome. developmental sketches in historical documents there is enough surviving evidence to indicate that training method.With the establishment of large the use of sketches for thinking was common to architectural firms in the United States,three- architects throughout history.Depending on the dic- dimensional scale models gradually replaced draw- tates of the building trades or customs,the drawing ing for the purposes of design development.The use 1 conventions varied from plan to section to elevation. of designing sketches further declined with the For almost two centuries,the Ecole des Beaux Arts in advent of professional model makers and profes- Paris used the plan esquisse as the foundation for its sional renderers. 1

• • 1 Introduction Graphic thinking is a te rm I ha ve adopted to describe thinkin g assisted by ske tch ing. In ar chitecture, this type of thin king is usually associated w ith the concep tua l design stages of a projec t in which th inkin g and ske tching work closel y toge th er as st im ulants for developing ideas. Interest in this form of thinki ng is promot ed by a reexamination of the histor y of ar chitectural design, th e impact of visual com mun ication in society, and new concepts of the role of design and design ers. The re is actua lly a ve ry strong tradit ion of grap hic th inking in archi tecture. Looking thro ugh reprodu c￾tions of th e notebooks of Leon ardo da Vinci, we are struck by the d yn amic thinkin g t hey re flect . It is impossible to really u nderst and or apprecia te da Vinci's thin king apa rt from his drawi ngs because the graphic images and th e thinking are one, a unity. A closer look at the se ske tches reve als certain featur es tha t are instruc tive for anyone interested in graphic th inking. 1. There are many different ideas on one page-his attention is constantly sh ifting from one subje ct to another. 2 . The way da Vinci looks a t prob lems is di verse both in method and in scale- there are oft en per￾spectives, sections, plans, de ta ils, an d panoramic views on the same page. 3 . The thinking is explor ato ry, open-ended - the sket ches are loose and fr agmented while showing how th ey were der ived . Many alterna tiv es for extending th e ideas ar e suggested. The sp ecta tor is invited to parti cipate. Wh at a marvelous example! Here is a mind in fer￾ment, using drawings as a means of discovery rath er than as a way to impress other peop le. Althoug h it is oft en difficult to find records of developmen tal sketches in hist or ical documen ts, ther e is eno ug h sur vivin g evide nce to indica te th a t th e use of sketches for thinking was com m on to ar ch itects thr oughout history. Depe nd ing on th e dic￾tates of th e building trades or customs, the dr aw ing conventions varied from plan to sec tion to ele vat ion . For almost tw o centuries, th e Ecole des Beaux Arts in Paris used the plan esquisse as th e found ation for its Figure 1-2 By Edwin Lutyens. Castle Drago and British Pavilion 1911 Exposition, Rome. ' 0 , , j', . .t I ', . . .-l '· L .oli\ Figure 1-3 By Edwin Lutyens. Castle Drago and British Pavilion 1911 Exposition, Rome. tr ain ing me thod . With th e establis hme nt of large arch itec tura l firms in the Uni ted States, three￾dimension al scale models gradually replaced draw ­ ing for the purposes of design development. Th e use of de sign ing sketches further declined w ith the advent of professiona l model makers and profes￾siona l rende rer s. 1

.6然。 Figure 1-4 By Alvar Aalto. There has,of course,been an intense interest in architects'drawings rekindled by exhibits like the Beaux-Arts and 200 Years of American Architectural Drawings.But the emphasis is mostly on communi- cation of the final fixed product,and these presenta- tion drawings tell us practically nothing about the way in which the buildings were designed.The thinking sketches are necessary to understand the step-by-step process.Yet even when the thinking sketches are available,as in the documents of the work of LeCorbusier,they are usually overlooked in favor of the renderings or photos of the finished work.We are just beginning to appreciate the impor- tance LeCorbusier placed on sketches.As Geoffrey Broadbent notes,"All the internal harmony of the work is in the drawings....It is incredible that artists Fiqure 1-5 By Thomas Larson.The Grandberg Residence. today should be indifferent (even hostile)to this prime mover,this 'scaffolding'of the project." 2 Introduction

f ~i _.. ..... "I .""';' '., . ' . ' / '" - -r­ j ' - ./ , • " >.... . . '. _ ....... .., ­ , ,., ,; . 1.-'\ .~ WI' .,:;p, , Ii ) • . - -t ., ~~~ ~7 - .s " . . 11' i,~\'J.' ej JIJ:i ~-T"~ - ' '" ,. [ "; I' I ' - -" ~. ­ /J. [I),. ,/),. ,)I" V:' -.-~ 'f ; "' . C-7~ I .~ l • i.o--r---:::> 6r>o" 1 t" '~ \;.. ..< ~'--_ .!l-:"" -~ . .. -­ Figure 1-4 By Alvar Aalto. Th er e ha s, of course., been an int ense in te rest in architec ts ' drawings re kindled by exhibits lik e the Beaux-Arts and 200 Years of American Architectural Dr aw ings. But th e emphasis is mo stl y on comm uni￾cation of the final fixed product , and these presenta￾tion drawings tell us practically nothing about the way in w hich the buildings were designed. The thinkin g sketches ar e necessary to understand the step-by -step process. Yet ev en when the thinking sketch es are available, as in the do cuments of the work of LeCorbusier, they ar e usually overlooked in favo r of th e renderings or photos of the finished work. We ar e ju st beginning to appreciate th e impor￾tance LeCorb usier pl aced on sketches. As Geoffrey Broadbent no te s, "All the internal harmony of the work is in th e drawings.... It is incredible that artists Figure 1-5 By Th omas Larson. The Grandberg Residence. today should be indi fferen t (even ho stile) to th is prime mover, this'sca ffolding' of th e project. "l . \fJ!lJiK~-: Tt1~~""' '1 I . \ ," 2 Introduction

Figure 1-6 By Thomas Beeby.House of Virgil. deri brow Among modern architects,Alvar Aalto has left us probably one of the best models of the graphic think- ing tradition.His sketches are rapid and diverse;they deftly probe the subject.Hand,eye,and mind are intensely concentrated.The sketches record the level of development,proficiency,and clarity of Aalto's ideas.There are many other architects whose work we can turn to,particularly here in the United States, where we are experiencing a resurgence of sketching. Their drawings are inventive,diverse,and provoca- tive.Whether they are making notes in a sketchbook or turning over concepts in the design studio,these creative designers are looking for something special over and above solving the design problem,like the gourmet who is looking for something more than food.They enjoy the eureka experience,and they enjoy the search as well.This book is really about finding things,about seeing new ideas,about discov- ery,and about sharing ideas and discoveries. Figure 1-7 By Norman Jaffe. Introduction 3

• .·-- .-­ ILJI \. ~~~~ Figure 1-6 By Thomas Beeby. House of Virgil. Among modern architects, Alvar Aalto has left us proba bly one of th e best models of th e graphic think￾ing tradition. His sketch es are rapid and divers e; they deftly probe the subject. Hand, eye, and mi nd are int en sely concentra ted. The sketches record th e level of development, profi ciency, and clarity of Aalto 's ide as. There are many other architects w hose work we can turn to , particul arly here in the United States, where we are exp eriencing a resurgence of sketching. Their draw ings ar e inventive, diverse, and prov oca￾tive. Whethe r they are making notes in a sketchbook or turning over con ce pts in th e design studio , th ese creative designers are looking for som et hing specia l over and above solving the design problem , like the gourmet w ho is looking for somethin g more than food . They enjoy the eure k a experience, and they enjoy th e search as well. This book is really abo ut finding th ings, about seeing new ideas, about discov￾ery, and abo ut sharing ideas and discoveries. Figure 1-7 By Norman Jaffe. Int roduction 3