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
perhaps by resort to archival sources or textbooks on easy for students to overlook drawing when other more construction.Thematic exploration through drawing aids fashionable or accessible tools,such as CAD and learning about the built environment-it helps you to see,photographic digitisation,are presented during the to think and to design. courses of study at undergraduate level.As this The book presents a general overview of drawing book argues,the power of drawing to get beneath the practice in the twenty-first century and the principles that surface encourages those who use the sketchbook to underpin it.The benefits of designing through drawing are confront the deeper forces at work in shaping discussed,particularly the way sketching allows options contemporary architecture.Architects were once noted to be explored conceptually and in detail-this interaction for their ability to visualise through drawing and this set across the scales is an important characteristic of them apart from engineers or technicians.In writing this drawing.Inevitably in the digital age,there is a great book the author seeks to revive the tradition of drawing- deal of interplay between freehand drawing and CAD,not as mere draughtsmanship or documentation,but as a especially at the genesis of a project.Different architects powerful tool in generating the built forms of the twenty- use drawing in different ways but for many,if not most, first century. architects freehand drawing is the first tool or medium used in designing a building. The professional bodies which underpin standards in architectural education in the UK,namely the Architects Registration Board(ARB)and the Royal Institute of British Architects(RIBA),recognise the importance of the facility to draw to that of becoming an architecture.Under the criteria for the prescription of architectural courses the term 'communication'is employed.It is used in the context of evolving and representing architectural design proposals,and embraces freehand drawing as well as CAD.Sketching remains an important aspect of being an architect,even in an age where information technology (IT)has to an increasing degree displaced traditional notions of architectural representation.Sketching remains important to designing and,equally,to understanding the physical,environmental and cultural context for arch- itectural practice today. In presenting new material in this edition,the author hopes to encourage greater use of the sketchbook and freehand drawing within architecture and design schools. The potential of investigating,learning and practising design through drawing is considerable.However,it is Introduction vii
perhaps by resort to archival sources or textbooks on construction. Thematic exploration through drawing aids learning about the built environment – it helps you to see, to think and to design. The book presents a general overview of drawing practice in the twenty-first century and the principles that underpin it. The benefits of designing through drawing are discussed, particularly the way sketching allows options to be explored conceptually and in detail – this interaction across the scales is an important characteristic of drawing. Inevitably in the digital age, there is a great deal of interplay between freehand drawing and CAD, especially at the genesis of a project. Different architects use drawing in different ways but for many, if not most, architects freehand drawing is the first tool or medium used in designing a building. The professional bodies which underpin standards in architectural education in the UK, namely the Architects Registration Board (ARB) and the Royal Institute of British Architects (RIBA), recognise the importance of the facility to draw to that of becoming an architecture. Under the criteria for the prescription of architectural courses the term ‘communication’ is employed. It is used in the context of evolving and representing architectural design proposals, and embraces freehand drawing as well as CAD. Sketching remains an important aspect of being an architect, even in an age where information technology (IT) has to an increasing degree displaced traditional notions of architectural representation. Sketching remains important to designing and, equally, to understanding the physical, environmental and cultural context for architectural practice today. In presenting new material in this edition, the author hopes to encourage greater use of the sketchbook and freehand drawing within architecture and design schools. The potential of investigating, learning and practising design through drawing is considerable. However, it is easy for students to overlook drawing when other more fashionable or accessible tools, such as CAD and photographic digitisation, are presented during the courses of study at undergraduate level. As this book argues, the power of drawing to get beneath the surface encourages those who use the sketchbook to confront the deeper forces at work in shaping contemporary architecture. Architects were once noted for their ability to visualise through drawing and this set them apart from engineers or technicians. In writing this book the author seeks to revive the tradition of drawing – not as mere draughtsmanship or documentation, but as a powerful tool in generating the built forms of the twentyfirst century. Introduction vii
THERE IS NO LANSHAM PE、NASH HAD A SARDEN 你E、 COMPRRE AGRESSIDN FTH形 CAANER H NOTE HOW THE 、庥 PERISTyLE IS INVITATION INVITIN6、A PVPUC OF SPALEA SMYATHET All souls STV爪Po长ST NOTE HoW THE LEvEL ONT作TN CHANGE UFT yov NG INT水C(D3i WE灯作TI ®E THE TRAFP化 VISVAL7 BUT AUSD Jm&(5丶ABTT不 PRIPξ午N PAvOntTi《
Chapter 1 The benefits of drawing The act of drawing is an important starting point for the studies and his commissions as an architect.Later intellectual process we call 'design'.To be able to draw architects such as Alvar Aalto,Le Corbusier and Louis a chair or a building is a prerequisite for anyone wishing Kahn employed the sketchbook in a similar fashion, to design such things.Drawing has two functions for though to different ends.Lord Foster (opposite)continues the designer -it allows him or her to record and to with this tradition. analyse existing examples,and the sketch provides the Drawings have been used by architects in many medium with which to test the appearance of some different ways.Ranging between the opposite poles of imagined object. the freehand drawing as a record and as a design tool Before the advent of photography most architects exist many different applications for the designer.Some kept a sketchbook in which they recorded the details of architects use the sketch as the main means of buildings,which they could refer to when designing.The communicating a design idea to clients.Such sketches fruits of the Grand Tour or more local wanderings relay the thinking behind a proposal as well as suggesting consisted of drawn material supported,perhaps,by a tangible form.Other architects use the sketch to written information or surveyed dimensions. analyse townscape and to indicate how their design will The sketchbook provided a form of research and a fit into the street.Others use the sketch as a method of library of plans and details to crib at a later stage.Because studying building typology,using the analysis as a way of the architect is not necessarily aiming only at placing their design into known precedents.However the documentary representation,the sketches were often sketch is employed,the main point is to use the freehand searching and analytical.Many of the drawings prepared drawing as a design tool,as a method of giving form and found their way into later designs.The English architect expression to one's thoughts.One may finish the design C.R.Cockerell used pocket-sized sketchbooks and filled process with a formal perspective,but that end product them with drawings not only of sites in Italy and Greece,should not be where sketching begins.Design analysis but also of cities in Britain.His sketchbooks,which through the freehand drawing should be at the start of the survive at the Royal Institute of British Architects(RIBA),creative process,not at the end,and preferably before the show that a direct link existed between Cockerell's field design commission arrives in the first place.The The benefits of drawing 1
Chapter 1 The benefits of drawing The act of drawing is an important starting point for the intellectual process we call ‘design’. To be able to draw a chair or a building is a prerequisite for anyone wishing to design such things. Drawing has two functions for the designer – it allows him or her to record and to analyse existing examples, and the sketch provides the medium with which to test the appearance of some imagined object. Before the advent of photography most architects kept a sketchbook in which they recorded the details of buildings, which they could refer to when designing. The fruits of the Grand Tour or more local wanderings consisted of drawn material supported, perhaps, by written information or surveyed dimensions. The sketchbook provided a form of research and a library of plans and details to crib at a later stage. Because the architect is not necessarily aiming only at documentary representation, the sketches were often searching and analytical. Many of the drawings prepared found their way into later designs. The English architect C.R. Cockerell used pocket-sized sketchbooks and filled them with drawings not only of sites in Italy and Greece, but also of cities in Britain. His sketchbooks, which survive at the Royal Institute of British Architects (RIBA), show that a direct link existed between Cockerell’s field studies and his commissions as an architect. Later architects such as Alvar Aalto, Le Corbusier and Louis Kahn employed the sketchbook in a similar fashion, though to different ends. Lord Foster (opposite) continues with this tradition. Drawings have been used by architects in many different ways. Ranging between the opposite poles of the freehand drawing as a record and as a design tool exist many different applications for the designer. Some architects use the sketch as the main means of communicating a design idea to clients. Such sketches relay the thinking behind a proposal as well as suggesting a tangible form. Other architects use the sketch to analyse townscape and to indicate how their design will fit into the street. Others use the sketch as a method of studying building typology, using the analysis as a way of placing their design into known precedents. However the sketch is employed, the main point is to use the freehand drawing as a design tool, as a method of giving form and expression to one’s thoughts. One may finish the design process with a formal perspective, but that end product should not be where sketching begins. Design analysis through the freehand drawing should be at the start of the creative process, not at the end, and preferably before the design commission arrives in the first place. The The benefits of drawing 1
11 This sketch (dated 1862)by Richard Norman Shaw of Bfnoul.tu. Bidborough in Kent shows his interest in vernacular buildings. It is no surprise to find Shaw designing new buildings in similar spirit at the time.(RIBA Drawings Collection) 1.2 This drawing of a new circular tenement built in Glasgow in 1990 highlights the pattern of windows and shows how the stairways have been used to 1日1日 articulate the design.The sketch seeks to explain the basic R日日 geometry of the circular tenement.By eliminating all detail the proportions have become clearer,and what is not evident in the sketch has been highlighted in the notes. 2 Understanding architecture through drawing
1.1 This sketch (dated 1862) by Richard Norman Shaw of Bidborough in Kent shows his interest in vernacular buildings. It is no surprise to find Shaw designing new buildings in similar spirit at the time. (RIBA Drawings Collection) 1.2 This drawing of a new circular tenement built in Glasgow in 1990 highlights the pattern of windows and shows how the stairways have been used to articulate the design. The sketch seeks to explain the basic geometry of the circular tenement. By eliminating all detail the proportions have become clearer, and what is not evident in the sketch has been highlighted in the notes. 2 Understanding architecture through drawing
13 The sculptural massing is evident in this disused colliery at Chislet in Kent. sketchbook is a personal library;it needs to be built up so Sketching and freehand drawing have for too long that it can become a basis for later,undreamt of,designs.been seen as the point of entry into painting,as against Many architects'drawings leave out a great deal of the essential starting point for design.Art colleges have, detail.Whether a sketch is of a design proposal or an of course,always maintained a sketchbook tradition existing reality,the element of removal or abstraction is among artists and designers alike,but in sixth-form one of the characteristics of such drawings.It is better to colleges,and even schools of architecture,the capture the essence rather than seek an exhaustive sketchbook has been usurped by the computer simulation realism.Designers need to know what to leave or verbal description. suggested rather than explicitly recorded.The principles What this book seeks to revive is the sketch and and truth that such drawings seek to communicate can be analytical drawing as means of understanding form and hidden by too much detail or graphic bombardment.A construction.Only through the study of existing examples good drawing is one that leaves room for imaginative -not laboriously drawn but critically examined-can we interpretation.These principles apply equally to a page in cultivate a nation of people sensitive to design and its the sketchbook or a drawing prepared to highlight a application to our everyday environment.This willingness design proposal. to learn from past examples should apply across the The benefits of drawing 3
sketchbook is a personal library; it needs to be built up so that it can become a basis for later, undreamt of, designs. Many architects’ drawings leave out a great deal of detail. Whether a sketch is of a design proposal or an existing reality, the element of removal or abstraction is one of the characteristics of such drawings. It is better to capture the essence rather than seek an exhaustive realism. Designers need to know what to leave suggested rather than explicitly recorded. The principles and truth that such drawings seek to communicate can be hidden by too much detail or graphic bombardment. A good drawing is one that leaves room for imaginative interpretation. These principles apply equally to a page in the sketchbook or a drawing prepared to highlight a design proposal. Sketching and freehand drawing have for too long been seen as the point of entry into painting, as against the essential starting point for design. Art colleges have, of course, always maintained a sketchbook tradition among artists and designers alike, but in sixth-form colleges, and even schools of architecture, the sketchbook has been usurped by the computer simulation or verbal description. What this book seeks to revive is the sketch and analytical drawing as means of understanding form and construction. Only through the study of existing examples – not laboriously drawn but critically examined – can we cultivate a nation of people sensitive to design and its application to our everyday environment. This willingness to learn from past examples should apply across the 1.3 The sculptural massing is evident in this disused colliery at Chislet in Kent. The benefits of drawing 3