The sequence of design generation by the three main
vehicles investigated (freehand drawing, model and CAD)
varied between architects interviewed. What did emerge,
however, was the primacy of freehand drawing in each
case and the perceived limitation of CAD as anything but
a graphic tool. In fact, where CAD was specifically
employed for design evolution some of the architects
expressed the view that design quality suffered unless
there was parallel inquiry via freehand drawing or model-
making. The poor opinion of CAD is surprising given the
development in design software particularly aimed at
building designers. Using the RIBA Plan of Work as a
guide, all ten architects used freehand drawing as the
primary or sole design tool at the first stage of design
conceptualisation. Freehand drawing also remained an
important tool at the second stage, but model-making
then emerged as an important contributor to design
evolution. Although two architects interviewed employed
CAD significantly at the second stage (Gordon Murray and
Farrell), its usefulness was mainly in the third stage of
design development. However, even at the third stage,
CAD was employed in equal measure with model-making
in four cases and with model and freehand drawing in a
further two. So in spite of popular perception, CAD is not
universally used for design evolution by many of the
country’s leading architects – this role continues to be
undertaken by freehand drawing on its own or drawing in
association with model-making. More worrying perhaps is
the perception that CAD glamorises the image and
provides at best a superficial impression of design quality.
There are lessons here for architectural education.
The research undertaken sought to explore the use of
freehand drawing in design by undertaking structured
interviews with ten leading architects in the UK. The
architects questioned were all educated before the
advent of CAD yet practise in an age of universal use of
digital media in design. As such they are the last25.8a and b (above left)
These sketches by Richard Murphy show the layering of construction for two
Edinburgh house extensions. (Richard Murphy)
25.9a and b (left)
Edward Cullinan’s sketches showing the structural principles behind a green oak
grid-shell roof. (Edward Cullinan)
25.10 (above)
Edward Cullinan’s sketch section of his own house in London. (Edward Cullinan)
Drawing in architectural practice 253