Architects Draw: Freehand Fundamentals (Architecture Briefs)

Architects Draw: Freehand Fundamentals (Architecture Briefs)

Sue Ferguson Gussow

Language: English

Pages: 160

ISBN: 1568987404

Format: PDF / Kindle (mobi) / ePub

Where does architectural design begin? In an age obsessed with all things digital, it's tempting to envision a computerscreen in a paperless studio. While the practical value of computer-aided drafting and photorealistic modeling areindisputable, but you won't find the soul of architecture in the machine. Look instead at an architect's drawing hand. Ideas flow onto the paper through the uniquely human creative collaboration between mind and eye. Architects Draw, the inaugural volume of our new Architectural Briefs series, highlights this most fundamental level of speculative designfreehand drawing.

Architects Draw offers a practical and invaluable way to help students and would-be sketchers translate what they see onto the page, not as an imitation of reality, but as a comprehensive union of voids and solids, light and shadows, lines and shapes. For nearly forty years, revered Cooper Union professor and artist Sue Gussow has taught aspiring architects of varying abilities how to fully observe and perceive the spaces that make up our physical environment. Gussow skillfully applies architectural language to twenty-one drawing exercises that tackle a variety of formsfrom peas in a pod to monkeys, skeletons, dinosaur bones, and the art of Giacometti and Mondrian. She shows, for example, how cut fruit and paper bags reveal that the physical world is made up of planes, dimensions, and enclosed space.

Architects Draw features examples from postgraduate architectural practice that explicitly connect drawing to the world of architecture. This unique course provides a solid foundation for anyone interested in using drawing as a visual language to describe architecture.

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space and the abstract pathway that the shape of tone creates on the surface of the page. 1 hour. Note: At the critique of these drawings, slides are shown of Raphael’s tonal studies for his Vatican Stanza fresco, The School of Athens, in the Stanza della Segnatura, Rome, Italy (1510–11). The entire composition is presented F IGURE 2 Although based on the blind-contour method, the drawing does not strictly adhere to it. (For a classic rendition, see “Bell Peppers,” p. 22.) In this drawing, the

that you will have a consistent perspectival reference throughout the drawing process. Focus and negative space are critical issues. If the focus is the tree(s) in foreground or middle ground, minimize architectural notations or eliminate them altogether using geometric blocks of negative space. Use architectural detail judiciously as a counterpoint to the trees. Reduce the repetition of banks of windows to negative spaces when appropriate. When windows are attended to in detail, differentiate

work from the generic to the specific and contain in them the magic of visual surprise. Surprise is the thing that caught your eye—the thing you did not expect to see. The question of what and how much to generalize, simplify, or edit out—and, conversely, what elements to emphasize, detail, and particularize—is crucial to the creative process. The balance struck between these two polarities must always be at the forefront of the critical discussion about the work. Reread the paragraph and draw

on rice paper. FIGURE 18 right Pablo Castro and Jennifer Lee, sketch for PS1 BEATFUSE! installation, 2005. Watercolor, ink and pencil on sketchbook paper. 170 FIGURE 19 above Castro and Lee, PS1 BEATFUSE! installation, Long Island City, New York, 2006. FIGURE 20 left Castro and Lee, sketch for PS1 BEATFUSE! installation, 2006. Pen and ink wash on sketchbook paper. 171 FIGURE 21 left Karen Bausman, plan drawing of Warner Brothers’ Performance Theater, Los Angeles, California, 1999.

Grouping and regrouping three or more bulbs (and a number of their separated cloves) creates a continuing space/design strategy. The structural arrangement of an individual garlic bulb is markedly different from the walled hollow of the bell pepper. Here, a compact mass of curved cloves is attached at bottom to a disc-shaped base from which a mop of roots descends. The compacted cloves are shaped snugly to one another around a very slender central core. The flesh of each clove is wrapped in its

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