Chapter 6
Composition
An appreciation of composition is particularly important
when drawing buildings and cities. The abstract nature of
architecture means that sketches have to be well
composed, otherwise the finished drawing may lack
appeal, or fail to communicate the qualities that attracted
you to the subject in the first place.
Generally speaking, the subject of the drawing should
occupy the middle third of the sheet, not centrally placed,
but perhaps positioned on the basis of the golden section.
The proportional harmony of the golden section can
enhance the drawing and give the subject a feeling of
repose on the sheet. The subject can, of course, be in
the foreground, middle ground or distance. It often
helps, however, if the main object of the sketch is in the
middle ground with foreground detail such as paving
and background silhouette used to establish layers in
the drawing.
Since buildings are made of materials of known size
(bricks, blocks of stone, curtain walling, etc.), the
opportunity often exists to exploit the rhythmic patterns
they create. By considering the position of elements in
the drawing it is often possible to create interesting
arrangements that take advantage of the relative scale of
the different building materials. Moreover, as we are all
familiar with the dimensions of a standard brick, the use
of patterns of brick courses quickly establishes a sense
of scale within the sketch.
Often it is possible to fill an area of the drawing with
brickwork or tiling, and this can provide a texture to set
against more detailed line work of, say, a Georgian
window or doorcase. The justaposition of line, shadow
and texture can make an attractive drawing, and it is
worth taking time before starting the sketch to find a
good combination of these elements. A little licence may
also be permitted in rearranging the parts or extending (or
exaggerating) the area of brickwork in order to produce a
more satisfactory final drawing. Remember that good
composition may also have been the architect’s or town
planner’s objective, and that your sketch is simply
bringing out elements of the town scene that already
exist, though perhaps looking slightly different in reality.
A good sketch should have layers of information and
meaning. By setting elements into the foreground,
especially those that give local character, you can convey
the atmosphere of a street or urban area. Such details as
post boxes, seats or advertising signs can be placed in the
foreground, and this not only improves the composition of
the sketch but can also give it extra complexity and
richness. Remember, too, that knowing what to leave out
is also important. Unlike the literal documentation of the
6.1 (opposite)
This street scene in London
benefits from details such as
market stalls and a stripey
canopy. This fine drawing
(dated 1992) by Francis Tibbalds
has layers of interest which
help inform the subject.
(Francis Tibbalds)
50 Understanding architecture through drawing