practical and aesthetic benefits (Murphy, Gordon Murray,
Grimshaw), whilst the smooth quality of such paper in
relationship with felt-tip pens or pencil appealed to others
(Grimshaw, Allan Murray). Often there was graduation
from small cartridge sketch pads to larger tracing sheets,
with a corresponding change from early pencil sketches
to felt-tip pen and marker, a point noted in particular by
Foster and Alsop.
It appears that the evolution of design ideas is
matched by a gradual expansion in the size and often
sophistication of drawing tools or techniques involving
both freehand and digital media. However, drawing
boards were only noted in two of the offices visited and
here their role was rather more social than practical. Allan
Murray, for example, shares an A0 board with his partner,
the two of them working from opposite sides of the same
board in order to encourage collaboration in design. The
pattern found generally, however, is that of a progression
from the initial design diagram, to small freehand design
sketches to larger freehand drawings, rough card or
plasticine models and then CAD visualisation, followed by
CAD-generated contract drawings (for the contractor) and
often a professionally made model (for the client).
In design investigation the model became an
important supplementary tool for many of the architects
questioned. Although drawings always pre-existed
models, rough models of whole or parts of buildings were
employed to explore spatial arrangements, or sometimes
façades. For Allan Murray, the model was often made
before sections were drawn, as he believes that in design
development drawing has limitations after the initial
stages. Gordon Murray also used the physical model
extensively in testing design options for the SAS hotel in
Glasgow, employing freehand drawing and CAD after this
stage. Both Allan Murray and Fraser noted that
exploration by model was less common than their
experience of practice in the USA. Allies talks about two
types of plan being drawn (abstract organisational
diagram and site plan) which, when combined into the
first tentative design, were then tested through the
vehicle of a model. These rough models in card, plastic or
wood (usually made by the office model-maker) became
maquettes, which is akin to the process followed by
sculptors. Allies sees such models as a more reliable tool
to test the abstractions of the plan than CAD. Many of the
architects reported that investigation by model
sometimes took over as the main driver of architectural
form at a stage midway between the initial sketch design
drawing and CAD. Grimshaw likes to make his own
models in card or balsa wood, using then to test elements
of the building rather than the whole, the images then
being scanned onto computer without intervening
drawings.25.7
Composite drawing by Richard Murphy showing the plan and section of the
Computer Centre at Napier University, Edinburgh. Although the economy of line
means this sketch is little more than a diagram, it contains the kernel of a strong
design idea. (Richard Murphy)
Drawing in architectural practice 251