Architect Drawings - A Selection of Sketches by World Famous Architects Through History

to the corresponding architect’s built work; in other cases, the commission or project is

unknown. Generally, examining the repertoire of the architect’s remaining sketches provides

insight into their style, technique, and thought processes. This interpretation is speculative

by drawing conclusions based on literary theories, art theory, and observations of the marks

they make on a surface.

Each example in this book involves the following: a short biography of the architect,

information pertinent to the sketch and the architect’s body of work, a discussion of the

physical techniques of the sketch, and an exploratory interpretation. It is hoped that the

comparison to historical context and the architect’s recorded theories will clarify and enrich

the reader’s understanding of the ‘mind and spirit’ of the physical tracings.

This book is meant to convey a history of architectural sketches. This tells a story of archi-

tects’ design images from the Renaissance to contemporary architectural practice. History

books and in fact the history of architecture can be relayed through the study of monumental

buildings, by following thought as compared to cultural and social events, by comparing dif-

ferences between regions, or by styles, to mention a few methods. This book can be read as a

history of the times, culture, development, styles, and architectural thought manifest in the

images architects use for design process. It has been envisioned as a story following a general

timeline. As a narrative starting with the Renaissance, it will provide a survey highlighting

work by prominent architects revealing developments and paradigm shifts. Compared to a

necklace of pearls, the effect can be unified and cohesive. But to extend this analogy, the pearls

(the chapters or architects) can also be appreciated individually as vignettes or snapshots of

specific movements’ or architects’ influences and techniques.

HISTORY OF DRAWING AND SKETCHING

The history of representation is probably as old as civilization itself. Humans have always

attempted to infuse meaning into the objects they observe in nature and the things con-

structed. The art historian E. H. Gombrich, when discussing the origins of art, writes that

humans assembled structures to shelter themselves from elements of nature such as rain, as

well as from the spirits that controlled the natural environment ( 1985 ). These spiritual forces

were equally as potent as the environmental dangers. Gombrich concludes that for these

early humans, ‘there is no difference between building and image-making as far as usefulness

is concerned’ ( 1985 , p. 20 ). He suggests that there exists a certain amount of magic involved

in representation.

The paintings in the caves of Lascaux in France, or any other wall paintings by indigenous

peoples, may have chronicled a successful hunt, told a story of heroism, or acted as a talisman

to ensure an equally good hunt the following year. Much of what remains of ancient civiliza-

tions are the architectural monuments sturdy enough to stand the test of time. Similarly the

temporary materials of most visual communication have been lost, one exception being

paintings on the walls of Egyptian structures. As evidenced by these paintings, the Egyptian

culture had a tremendous amount of graphic language. Created with pigment on stone and

subsequently buried, these communications survived. But one may suppose that this produc-

tive culture also inscribed papyrus, wooden pallets and stone or clay tablets to communicate

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