From the first moment you enter architectural education, tutors tell you repeatedly and often passionately that the learning never stops; this is how it is going to be from now on. Student platforms are an example of our efforts to share our discoveries, many emerging out of the tension between academia and independent learning. From the post-digital advocate KoozA/rch to university publications like The Bartlett's Lobby, AA files, or Yale School of Architecture’s Perspecta, research and media platforms represent the creative consciousness of our generation today. Volume64 is a recent newcomer born out of this tension, and behind it is a team myself and my colleagues have founded and run. Through ArchDaily, we’re sharing a little bit of our story so far.
Through his sketches, Renzo Piano communicates the true intentions of his projects, pointing to the specific concepts that will become the protagonists of his works, including concern for the human scale and comfort, solar studies, and dialogue with the immediate environment. We compile here ten projects by the architect accompanied by their sketches, through which it is possible to see how the 1998 Pritzker Prize winner takes his designs from paper to reality.
In the thousands of posts we publish yearly, we have the privilege of seeing a large number of impressive architecture drawings. They are submitted by established practices, architecture students, artists and, occasionally, our readers. From precise, old-school hand drawings to architectural representation that pushes the boundary of collage, photography and digital sketching, drawings hold a particular intrigue in the hearts of architecture lovers.
Since inspiration is at the heart of ArchDaily's mission, we'd like to invite all members to submit their best drawing for inclusion in our 2017 "Best Drawings" post.
https://www.archdaily.com/876044/call-for-submissions-best-architecture-drawings-2017AD Editorial Team
"London in 2145" by Ken Shuttleworth, pen drawing by hand (2015)
Update: the deadline for this competition has been extended to September, 25, 2017 at 23:30 BST.
Make, the Sir John Soane’s Museum and the World Architecture Festival (WAF) have come together to create a prize for architectural drawing. The Prize recognises the continuing importance of hand drawing but also embraces creative use of digitally produced renderings.
The Architecture Drawing Prize welcomes entries from architects, designers and students from around the world while celebrating drawing’s significance as a tool in capturing and communicating ideas.
A view of Sean Gallagher's work as seen in Morpholio's Trace App. Image Courtesy of Morpholio
If you visit an architecture office today, you may sense a slight change. The days of bulky desktops, ergonomic mouse pads and tower-high stacks of drawing sets are slowly giving way to digital pencils, tablets, and tons of architects’ hand-drawings—both physical and digital. Architects across the globe are clearing their desks, literally, and utilizing emerging touchscreen tools and software for designing, sharing and collaborating. It seems possible that, for the first time in years, the architecture profession could revisit Bernard Tschumi’s “paperless” studio which formed a key part of his tenure as dean of Columbia University’s GSAPP in the mid-1990s. However, this time, “paperless” starts with a pencil, instead of a click.
The ever-growing realm of “post-digital” drawing is currently at the forefront of a healthy dosage of discourse, appreciation and even criticism, as professionals and students alike continue to push the envelope of accepted architectural representation and exchange a waning hyperrealism for the quirks and character of alternative visual narratives. Central to this new wave of illustration is the inclusion and appropriation of specific icons and characters from famous pieces of modern art, selected in particular from the works of David Hockney, Edward Hopper and Henri Rousseau, whose work undoubtedly remains at the forefront of their individual crafts and styles.
https://www.archdaily.com/874948/painting-the-post-digital-the-meaning-behind-the-motifsOsman Bari
The representation of architecture is important in the absence of tangible space. Throughout a lifetime, even the most devoted, well-travelled design enthusiast will experience only a small percentage of architectural works with their own eyes. Consider that we exist in only one era of architectural history, and the percentage reduces even further. Many architectural works go unbuilt, and the buildings we experience in person amount to a grain of sand in a vast desert.
Then we consider the architecture of the future. For buildings not yet built, representation is not a luxury, but a necessity to test, communicate and sell an idea. Fortunately, today’s designers have unprecedented means to depict ideas, with an explosion in technology giving us computer-aided drafting, photo-realistic rendering, and virtual reality. Despite these vast strides, however, the tools of representation are a blend of old and new – from techniques which have existed for centuries, to the technology of our century alone. Below, we give five answers to the question of how architecture should be depicted before it is built.
You may know about Lynda.com, the online education platform that hosts thousands of video courses for learning how to use software. But did you know that Lynda also has some great drawing, animation, and design courses? The best part (if you're a current student or local library card owner)? Lynda can be accessed for free from many universities, colleges, and libraries! If your backpack-toting, library-visiting days are behind you, the platform offers a free 10-day trial.
If you're looking to perfect your ability to capture or project building interiors and exteriors, Amy Wynne's hour-long course "Drawing 2-Point Perspective" is a solid option.
Drawing on a touchscreen or trackpad can be a huge pain – but when you’re on the go, sometimes that may be your only option to quickly convey an image. To the rescue, Google has unveiled its latest AI experiment, AutoDraw, which uses machine learning to pair your wobbly doodle with a corresponding artist-drawn image – like autocorrect for sketching.
https://www.archdaily.com/869005/googles-new-autodraw-feature-will-complete-your-drawings-for-youAD Editorial Team
The following excerpt was originally published in Natascha Meuser's Construction and Design Manual: Architecture Drawings (DOM Publishers). With our industry's technological advances, "the designing architect is not simultaneously the drawing architect." Meuser's manual aims to help architects develop and hone their technical drawing skills as the "practical basis and form of communication for architects, artists, and engineers." Read on for ten freehand drawing exercises that tackle issues ranging from proportion and order to perspective and space.
What is beauty? A few years ago, a group of international researchers sought to unravel the mysteries of human beauty. They used state-of-the-art, totally impartial computer technology and a huge dataset to establish once and for all why particular faces are perceived as beautiful, and whether beauty exists independently of ethnic, social and cultural background; in other words, whether it can be calculated mathematically. The scientists input countless photos of faces from all over the world, each described by survey respondents as particularly beautiful, into a powerful computer. The resulting information, they believed, could be used to generate a face that would be recognized by any human being as possessing absolute beauty. But what the computer eventually spat out was a picture of an ordinary face, neither beautiful nor ugly, devoid of both life and character. It left most viewers cold. The accumulated data had created not superhuman beauty, but a statistically correct average.
Architect and illustrator Diego Inzunza has created a new series titled "Architectural Classics," which presents and analyzes 20 iconic architectural works from the 20th-century. Using a graphic technique based upon axonometric views, the style allows each building to be seen from multiple sides, creating a comprehensive overall interpretation of the architecture.
Cesare Leonardi, Franca Stagi, "11.3.1 Carpinus Betulus," 1978–1982
The Villa Croce Museum of Contemporary Art presents the first monographic exhibition on the work of Cesare Leonardi (Italian, b. 1935). In the course of a career spanning more than four decades Leonardi, an architect and photographer, has continuously challenged the boundary between design and artistic practice. In spite of the recognition gained by his early furniture design, most of Leonardi’s oeuvre has remained little known, even within Italy. Cesare Leonardi: Strutture, organised in close cooperation with Leonardi’s archive, sheds light on an intimate yet multifaceted body of work.
I prefer drawing to talking. Drawing is faster, and leaves less room for lies. (Le Corbusier)
Even with the evolution of technology and the popularization of advanced computer programs, most architecture projects still begin with a blank sheet of paper and the casual strokes of a pen. Rather than simply representing a project, the sketch allows us to examine the project, understand the landscape or topography, or communicate an idea to another team member or even the client. Its main purpose, however, is to stimulate the creative process and overcome the fear of blank paper. Sketches are usually made with imprecise, overlapping, ambiguous strokes, accompanied by annotations, arrows, and lack great technical accuracy and graphic refinement.
Sketches of scale figures can be seen as an architectural signature. These miniature stand-ins for human life not only bring scale and understanding to a sketch, they also offer a glimpse into the architect’s personality. Some designers automatically go for realistic, anatomically correct people, while others have more abstract interpretations of the human body. But what exactly do these predilections say about their illustrator? Read on to find out:
This entry for the competition proposes a new lush core to this specific industrialized area of Sao Paulo, Brazil.
The SGA (Schindler Global Award) 2017 is open to final-year bachelor’s and all master’s degree students of architecture, landscape architecture, urban design and planning, from degree-granting educational institutions worldwide.
Even as architecture moves deeper into the digital realm, drafting and rendering by hand remains quintessential to the craft. The George Architect channel on YouTube—managed by Reza Asgaripour and Avdieienko Heorhii—aims to inspire both practitioners and fans of architecture by demonstrating new ways of depicting the built environment with impeccable style. Tune in to see how you can improve your own sketches.
This month London's Design Museum will officially open its new home on Kensington High Street. The project, which has been redeveloped and designed in collaboration with Rotterdam-based practice OMA and London-based studio Allies & Morrison, has seen a Grade II* Listed Modernist monument sensitively restored into contemporary galleries. For John Pawson—who has been commissioned to create "a series of calm, atmospheric spaces" ordered around a large, oak-lined atrium—this scheme marks his first major public work.
_copy.jpg?1488996934 "Casa Gropius / Walter Gropius + Marcel Breuer / 1938 . Image Cortesía de Diego Inzunza - Estudio Rosamente")
_copy.jpg?1488997079 "Prairie Chicken House / Herb Greene / 1961. Image Cortesía de Diego Inzunza - Estudio Rosamente")
_copy.jpg?1488996911 "Casa de Vidrio / Philip Johnson / 1949. Image Cortesía de Diego Inzunza - Estudio Rosamente")
_copy.jpg?1488996891 "Casa Farnsworth / Mies van der Rohe / 1951 . Image Cortesía de Diego Inzunza - Estudio Rosamente")
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