SKETCHES; REPRESENTATIONAL MEDIAFor these architects who share simultaneous time periods and overlapping influences, their sketches
have both similarities and differences. The Art Nouveau and Secession architects benefited from their
close association with graphic and fine artists. They acquired strong sketching skills, which developed
from practice, education, and innate talent. Many of these designers, such as Mackintosh, studied in
art schools. Others, such as Wagner, appeared to have a natural skill for representing designs in two
dimensions. His fluid strokes in ink seldom required erasure and conveyed his conceptual explor-
ations clearly. He obviously enjoyed sketching as he used these hand images extensively. This can be
seen in the many variations of his designs, all explored thoroughly through images.
Some of these architectural styles were literally three-dimensional manifestations of art movements;
many of the architects discussed in this chapter could easily shift between the two. For example, the
graphic techniques practiced by Hoffmann can be viewed in his sketches. Throughout his career, he
moved between designing architecture, domestic objects, posters, and furniture, and the bold outlined
style conveyed his thinking in both dimensions.
In contrast to those of the neoclassical period, these architects were concerned with knowledge
of and control over the construction process. This interest in details and technology was reflected in
their sketches: Horta diagrammed acoustical reverberation angles, architects of the Arts and Crafts
worked closely with the craftsmen, and the office of Greene and Greene studied material assembly.
Needing to communicate directly with their contractors, the Greenes probably sketched to work
out details as well as direct construction. Sketches were an efficient method to test ideas and explore
material interactions. Undoubtedly, these in-depth investigations required additional construction
drawings, which meant more sketches to work out the details. The architects of these movements
were also commissioned to provide consistent design for interiors, objects, and furniture. The con-
ception of these additional features required extensive study in two dimensions. Although there
were remnants of beaux-arts education, many architects studied in art or technical schools. Their
skills in practical arts prepared them for manipulation of materials and gave them a holistic attitude
toward design.
Many architectural commissions were obtained through competitions. Sketches played a vital
role in conceiving and illustrating potential projects. A skillful sketching style would help sell a pro-
ject and make it more easily understandable. A seductive hand sketched perspective could quickly
convey ideas of volume and spatial qualities to jurors. The use of color and texture added depth to
the images, visual cues that clients could comprehend.
As in other periods, architects’ intentions affected the manner of representation; the sketches
reflected their beliefs and ideology. Mackintosh’s light hand would sketch the delicate tracery of
nature, such as flowers. Loos’ sketches to alter hard-lined plans may suggest his critical attitudes.
Gaudí found a way to utilize the inherent curve of hanging chains in his sketches, elements import-
ant to his structural forms. The Art Nouveau architects needed to use soft pencils to evoke the fluid
lines of their forms, holding them loosely to achieve the continuous smooth arcs that defined the
tendrils of their architecture. In contrast, Lutyens boldly sketched to cover the page, inserting
images onto every empty space.
Unrestricted by the orthographic projection practices of the beaux-arts, these architects investi-
gated concepts using a variety of techniques. They sketched in perspective, as well as the conven-
tions of plan, section, and elevation. Their tools were substantially more sophisticated. Ink pens
improved in quality and were easier to obtain; fountain pens proved to be more controllable thanH5719-Ch05.qxd 7/15/05 3:37 PM Page 114