MEDIAMany media and techniques preferred by the neoclassical architects were more refined versions of
traditional tools and methods. New media were also continually developing. Paper became steadily
more available, especially after the mid-nineteenth century when wood pulping was prevalent.
Previously, paper was composed of linen or other rag fibers (Hutter, 1968 ). Beaux-arts architects
regularly traced drawings with translucent paper, a technique they learned as students at the Ecole.
While attending the Ecole des Beaux-Arts it was required that the competition esquissebe com-
pleted in ink on opaque paper, and they were commonly articulated with pale gray, green, pink, or
brown washes. The final rendered projects, rendu, were presented on extremely large sheets. These pages
became ever larger through the years, commonly displaying sections and elevations approximately two
meters long. Media such as pen and ink, graphite, watercolor, and wash were commonly used along
with brushes, compasses, rulers, and straight-edged guides. Sepia ink was produced near the end of the
eighteenth century and became so common that most brown inks were labeled sepia (Hutter, 1968 ).
Charcoal and graphite images were fixed with a solution composed of diluted lacquers and it may be
speculated that architects did likewise. Rubber was imported to Europe from India, which facilitated
erasing, during the eighteenth century.
Sir John Soane and Karl Friedrich Schinkel commonly sketched in ink, having the patience and
skills necessary to control this difficult medium. Although pen and ink required frequent dipping of
the quill, the technique may have allowed momentary pauses for contemplation. Marks appear fre-
quently in the margins of their sketches; places to rest a pen in thought. Washes are another defini-
tive medium; since the contrast on the paper was easy to read, they created an instantaneous
three-dimensional view that revealed volumetric qualities. Since elevations were easier to proportion
and dimension, but lacked the three-dimensional illusion of perspective, washed shadows could imi-
tate a perspective view to some degree. The ink and wash example by Soane indicates this technique.
The sketch by Henri Labrouste, who was trained at the Ecole, reveals early sketch diagram tech-
niques to find compositional direction. Fantasy etchings by Piranesi were developed from archeo-
logical investigations, while those by Boullée emanated from an ideological approach. Unsurprisingly,
these sketches are quite different from one another. Piranesi’s evokes the nervous and dismal qual-
ities of underground spaces while Boullée’s sketch argues for an abstract and emotive future.
These architects of the neoclassical period envisioned the future of architecture – on paper – within
their own ideological and educational framework.H5719-Ch03.qxd 7/18/05 10:16 AM Page 73