By Sue Ferguson Gussow
The place does architectural layout commence? In an age captivated with all issues electronic, it truly is tempting to check a computerscreen in a paperless studio. whereas the sensible price of computer-aided drafting and photorealistic modeling areindisputable, yet you will not locate the soul of structure within the laptop. glance as a substitute at an architect's drawing hand. principles circulation onto the paper during the uniquely human artistic collaboration among brain and eye. Architects Draw, the inaugural quantity of our new Architectural Briefs sequence, highlights this such a lot primary point of speculative designfreehand drawing.
Architects Draw deals a pragmatic and helpful strategy to support scholars and would-be sketchers translate what they see onto the web page, now not as an imitation of fact, yet as a entire union of voids and solids, gentle and shadows, traces and shapes. for almost 40 years, respected Cooper Union professor and artist Sue Gussow has taught aspiring architects of various talents easy methods to totally discover and understand the areas that make up our actual setting. Gussow skillfully applies architectural language to twenty-one drawing routines that take on a number of formsfrom peas in a pod to monkeys, skeletons, dinosaur bones, and the artwork of Giacometti and Mondrian. She indicates, for instance, how minimize fruit and paper baggage demonstrate that the actual international is made from planes, dimensions, and enclosed area.
Architects Draw good points examples from postgraduate architectural perform that explicitly attach drawing to the area of structure. This particular path offers a superb origin for an individual attracted to utilizing drawing as a visible language to explain structure
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Extra info for Architects Draw: Freehand Fundamentals
The common beginners’ strategies—drawing the person and then adding lines for the chair—or a more sophisticated approach—drawing the chair first and then inscribing the body within its framing—each are ill-fated tactics. In either case the figure From Rietveld to Le Corbusier to Eames to Gehry to Hejduk, noted modern architects have famously designed chairs. In the cases of Gaudí, Macintosh, and Wright, it is inconceivable to imagine their architecture furnished by another’s designs. From throne rooms to lecture halls to parlors to barber shops, chairs have assumed a variety of forms.
It is an abstract use of the concept of aerial perspective. F IGURE 3 At the same time the scribble exercise is explored in the classroom, students visit the Museum of Natural History to draw human and monkey skeletons and then the zoo to draw live monkeys (see pp. 43–47). Figure 3 gives a witty response to the exercise as the drawing moves from scribble to bones, revealing a human skeleton reclining in a field of lines. of hand, or fingers to soften but not to entirely erase the marks. Apply this erasure unevenly.
Here the observant eye has tracked the stacking of spinal disc on disc, the variety of negative shapes created by the ribs’ complex curves, the articulation of the elbow joints, even the jagged diagonal fissures that indicate the hollows of the eye sockets. F IGURE 6 Model and skeleton share the model platform and seem to have traded roles. The model, doll-like, slumps forward; the skeleton sits pertly erect. These postural contrasts lend the drawing visual wit. Several layers of structural metaphor are represented: the platform supporting the two figures, the implicit skeleton supporting the model’s body (notice the bony prominences in the face, knees, ankles), the clothing falling in planar folds from the support of shoulders and rib cages.
Architects Draw: Freehand Fundamentals by Sue Ferguson Gussow