sketches. The digital medium easily and quickly forms primary geometric shapes, similar to archi-
tects’ hand-constructed diagrams. The shapes, devoid of detail, could also be considered preliminary
because they provide basic conceptual information prior to design development. The more these
programs increase their speed and ability to manipulate (form and deform) shapes, the more they
replicate the creative impulses of hand sketches. Whether they are truly as effective, only their
extensive use will determine.
It is obvious, however, that computer sketches of even simple shapes can be limiting. In most
cases, it takes substantially more time to render details digitally, especially perspectives. Digital pro-
grams tend to create straight-sided objects more easily than rounded, although this problem is
quickly being rectified. A digital program that will stretch the shapes and then allow them to be
viewed from numerous perspectives certainly has advantages. In many cases, the ‘true’ look of the
image depends upon the needs and intent of each architect. In some situations, the more ambiguous
object encourages architects to derive inspiration from the undefined form.
The interpretive qualities of the imagination sort the undefined as the human mind wishes to
make sense of the fragments. The philosopher and psychologist James Gibson found that ‘a picture
cannot at the same time possess high fidelity for something concrete and high univocality for some-
thing abstract’ ( 1982 , p. 248 ). In the same line of thinking, but in different words, Richard Wollheim
supports this theory: ‘we cannot, at one and the same moment, see a picture as configuration and as
trompe l’oeil’ ( 1974 , p. 29 ). Providing absolute clarity early in the process may not always be possible
or even desirable. Similar to a caricature, the deformation or exaggeration might prove to be more
insightful. The use of the computer for sketching may therefore suggest an inherent conflict between
precision and imprecision.
The digital image can be seen but not felt. The direct relationship between the pen/pencil and the
paper may, for some architects, provide an intimate connection to the object of their creation. The
hand gestures of the drawing instrument add expression to their sketches. Although technology has
replaced keyed coordinates with the stylus and more responsive mouse controls, the human body is
still separated from the image emerging on the screen. The immediacy and personal control of the
hand sketch may encourage thinking in a way that digital technology cannot.
The advantages and disadvantages of both media are numerous and the success of each of these
forms of sketches may be determined by their time, place, and intention. As mentioned earlier, when
solicited for sketches to be included in this volume, nearly all of the contemporary architects con-
tacted sent in hand sketches. This is surprising, since they were given the opportunity to send either
digital or hand sketches. This may be particularly revealing, since many of these architects use com-
puters extensively in their design process and throughout the development of the project. Either they
still use hand sketches for initial design thoughts, or when a ‘sketch’ was requested they thought first
of one completed by hand. Very few of the architects sent a statement explaining what they were
thinking when sketching. This brought to light several issues in the making of sketches. First, these
prominent and busy architects had little time to explain their design thinking. Second, it meant that
remembering or writing down a visual thought process was difficult for them, considering the time
that has passed.
Whatever their form, sketches take other roles in the design and construction process besides con-
ceptual discovery. As suggested in the general Introduction, architects additionally use them for
recording impressions, evaluating and communicating ideas, as a way to facilitate observation, and
because they enjoy the activity and learning that comes from sketching. Architects also employ
sketches in various stages of process, such as exploring details, making changes during construction, or
during intra-office visual communication.
Architects such as Greg Lynn utilize advanced technologies to invent fluid, amorphous forms.
These abstract forms can be more easily viewed in perspective and analyzed (such as a section cut)
with computer rendering. Frank Gehry, although using sketches extensively for early ideas, relies
heavily on the computer to develop and visualize his complex shapes. Zaha Hadid provokes theor-
etical constructs with paintings and digital images as a starting point to locate form.H5719-Ch08.qxd 7/15/05 3:50 PM Page 208