By Kendra Schank Smith

Publish yr note: First released in 2008

Concepts from architects' minds evolve via sketches and as a style of transference are conveyed to the completed development. This publication compares characteristics of sketches to bare targeted methods to the tools of considering during which all architects interact. It offers new perception into the connection among architectural sketches and the method of artistic manipulation.

Sketches include a considering mechanism, and during the traits of ambiguity, quickness and alter, they start up a discussion for architects. As a medium to facilitate conversation, recording, discovery and review, their pertinence lies of their skill to express either the appropriate and the obscure.

Exploring 4 similar theoretical methods, play, memory-imagination-fantasy, cartoon and the gruesome, the booklet indicates how imprecision stimulates mind's eye to conceive new kinds within the discussion of architectural sketches.

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Additional info for Architects' Sketches: Dialog and Design

Sample text

4 Francesco Borromini; Gateway for S. Carlo alle Quattro Fontane. Sketches are productive in that the unknown can be ‘found’ through their activity. Unlike a finished work of art, they are valuable only through their action. They are effortless, and the player can easily become lost in the play. Sketches are swift, which is playful, not pondering. They can be representations-for or representations-of, or be a game in themselves. Roger Caillois writes that some games are played for ‘real’ and are not representations (Caillois, 1961).

Oechslin, W. (1982). The Well-Tempered Sketch. Daidalos, 5, pp. 99–110. S. (1967). Architectural Drawings and the Intent of the Architect. Art Journal, 27, pp. 48–59. Piotrowski, A. W. (2001). The Discipline of Architecture. University of Minnesota Press. Reidemeister, A. (1982). The Sketch as a Practical Instrument. Daidalos, 5. Robbins, E. (1994). Why Architects Draw. Massachusetts Institute of Technology Press. Santayana, G. (1961). The Sense of Beauty, Being the Outline of Aesthetic Theory.

2003. The morphology of a fabric city, with its clear distinction of block and street structure drifts towards ‘scoring’ intervals of street paving, façade rhythms, and light and shadow projections, unraveling the striated space of the city. When asked to comment on the sketches, Kahn explains the thoughts that provoked them. ’ These sketches allude to shadow and structure while conjuring the imagination. Although a combination of loose and controlled lines, the sketch remains within the urban theme and, thus, the subject matter defines the limits of the play.

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