Understanding Architecture Through Drawing

raises two important concerns. First, can the three-
dimensional nature of a building be adequately
represented on a flat sheet of paper – can space be truly
understood and designed by such means? If it cannot,
what is the relationship at different points in the design
process between the three tools commonly used for form
analysis and development – namely, drawing, models and
CAD – in representing an imagined reality? How is three-
dimensional space to be designed, understood and
communicated two-dimensionally, and since architectural
space is not static but fluid, how is movement
accommodated in the graphic analysis?
The second problem concerns the private nature of
the design drawing. In a task that involves many, namely
the design of a building, can drawings truly be a vehicle
for shared problem solving and, more importantly, shared
form evolution? The team drawing is relatively rare and
not much of a feature of contemporary architectural
practice, even in offices where multi-disciplinary skills
exist. Advocates of CAD argue that the screen provides

for more effective design collaboration and contains in

this the seeds of a more democratic process of

architectural production.

In spite of these difficulties many architects

acknowledge the primary importance of the act of

drawing to solving design problems and in understanding

design precedent (Lawson, 1994 p141). In fact, some

architects claim that the actual holding of a pencil

encourages creative thinking, the pencil or pen being the

go-between that links the mind and hand. The drawing

allows thoughts to flow and, when combined with words,

creates a framework whereby design problems are

turned into embryonic solutions. This is commonly called

the ‘Diagram’ (Architectural Review 2006a p28). The

mind, eye, hand, pencil and drawing exist as a seamless

interface in the experience of accomplished architects; in

fact, it has been argued that thinking through drawing is

what distinguishes the architect from others in the

building design process (Eastman 1970; Schon 1983;

Curtis 1999). Architects draw in a way unique to their

24.1

For the architect the freehand

drawing mediates between the

conflicting demands of brief, site and

construction. Here words are used to

augment the ideas expressed in line.

(Source unknown)

Designing through drawing 227