This book introduces different aspects of representational techniques in architecture via dedicated chapters for each topic. Each chapter provides examples of the creative use of different representational techniques in architecture at each stage of the design process. The examples shown are contributions from a range of contemporary architects and, together with detailed analysis in the text, form a book that offers a unique insight into the practical and professional world of architectural design.
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Chapter openers These introduce and outline the key information in each chapter.
Images Examples from contemporary architects and designers bring the principles under discussion to life. Captions Provide contextual information about each featured project and highlight the practical application of key principles. |
Information panels
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Section headings Each chapter unit has a clear heading to allow readers to quickly locate an area of interest. |
Supporting information panels provide contextual and supplementary content, which supports the body text.
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Project: University Centre Location: Winchester. UK Architect: Design Engine Date: 2005 |
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Parti diagrams |
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the nineteenth century and many influential architects trained there from Europe and USA. The style that it influenced was classical, grand and technically precise. |
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Architectural ideas or concepts are described in a form of sketch shorthand. A conceptual explanation of how a building works can sometimes be conveyed in a simple line drawing. Conversely, the concept may be more complex and so require a series of sketches to fully explain the underlying idea. a y |
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end oft he nineteenth century in aits style include the Paris Opera by Garner (1361), the Palais de Justice in Brussels by Poaert (1366) and the Petit Palais in Paris by Giraut (13971. It represents both |
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A parti drawing is reductive, it can display a complex idea in a vety simple form. This concept parti auniversitybuilding toa diagram. views ^two directors, those at the sloped site and those at graunc |
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A concept can be related tc design process. For example, reference the scale of a city or could describe the different d they are connected together. be conveyed in both the macr scheme design. At any stage of the process th drives the design forward and recorded. A sketch is a quick, and a concept sketch can take |
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aspect of the architectural in urban concept might ocation, or a material concept ails of a building and how he architectural concept can ■ and micro elements of a concept is something that as such it needs to be ay and useful way to do this, many forms. |
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Chapter navigation Highlights the current chapter unit and lists the previous and following units. |
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Introductions Each unit’s introduction appears in bold text and outlines the concepts that are to be discussed. |
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Concepts are dynamic, and the clearest forms of conceptual design will be simple and informative. A ‘parti’ diagram (the term is derived from the French verb ‘prendre parti’, which means to make a choice) is very helpful in this respect. Popularised during the nineteenth century in the Ecole des Beaux-Arts in Paris, these drawings are reductive and transform the concept into a few simple lines, which explain complex ideas and motifs in clear and simple terms. Parti diagrams are abstract sketches that are loaded with architectural meaning and intent, and can be referred to at all stages of the design project. Reductive parti drawings are simple in their execution, but require a great deal of consideration as they are often underpinned by quite complex thought processes. As such they convey a meaning that goes beyond the line on the paper, and will usually need to be fully described by accompanying text. The concept sketch may also require descriptive text or commentary alongside the drawing in order to strongly associate the drawing with its architectural intention. |
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Body text In-depth discussion of working methods and best practice is covered in the book’s body text. |
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Representational techniques |
Project: Kielder Observatory Location: Northumberland, UK Architect: Hyde + Hyde Date: 2005
The concept underlying this scheme was a homage to the cosmos. This pencil sketch shows an idea of a building as a telescope housing, opening out as a series of steel petals to reveal the sky.
The inspiration for this was a flower, with petals opening upwards and outward towards the sun. The concept sketch illustrates how the building reacts to nature in a similar fashion; it is like a piece of machinery that adapts itself and transforms to allow the view of the night sky.
A sketch by definition is a quick, loose and open drawing. It is the speed inherent in this sort drawing that makes it a powerful way to describe an idea. Forms of sketching can range from providing a kind of visual note-taking, observing real conditions and situations, to the production of analytical drawings that deconstruct an idea or concept.
Sketches can be categorised according to concept, analysis and observation.
Conceptual sketches can reveal the essence of a complex idea. The challenge in the concept sketch is to clearly and concisely communicate the design intention. A concept sketch may be drawn at the beginning of the project, but it should still be relevant on the project’s completion.
Analytical sketches can be used to analyse a building, space or component. These can be created at any stage of the design process. In a project’s initial stages they may convey a design intention; later on in the design process they can explain ideas associated with journeys through the building or aspects of construction.
Observational sketches can be used to describe aspects of buildings, exploring materials or space in detail.
There are many sketching techniques that can be explored and further developed until individual preferences and a personal style are established.
Stylistic variations will be in accordance with the medium used (pen, pencil, charcoal etc.); the different use and application of colour, tone or texture; the use of collage and material; the thickness or the sparseness of the line or the size and scale of image. Above all else, a personal sketching technique needs to be developed through practice and experimentation.
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Tools and materials |
This charcoal sketch shows the relationship between the chapel and the landscape, and also conveys the sense of sanctuary that the building offers. The use of charcoal brings an intense quality to the drawing and allows the light entering the space to be clearly understood.
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Project: Chapel of the Holy Wash Location: Swansea, Wales Architect: Hyde + Hyde Date: 2002 |
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L La О |
Sketching requires a range of tools, and first and foremost is the sketchbook itself. When selecting a sketchbook, important factors to consider are convenience and portability and the purpose of your intended drawings. It’s also important to purchase the best quality paper you can afford. Better quality paper will be more flexible as it will work equally well if sketching in pencil or pen, or if using watercolours.
An A4 (210 x 297mm) sketchbook is a good starting point, as the page is large enough to accommodate experimentation with different sketching techniques and it allows bigger images to be produced. Alternatively an A5 (148 x 210mm) sketchbook is very useful for travel because it fits neatly into a pocket and can be carried easily. An A3 (297 x 420mm) sketchbook is excellent for life and large-scale observational drawings (such as elevations).