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 model-
making, 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 arch-
itecture. 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