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Single-Handedly: Contemporary Architects Draw by Hand
Oleh Nalina Moses
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Mulai Membaca- Penerbit:
- Princeton Architectural Press
- Dirilis:
- May 7, 2019
- ISBN:
- 9781616898335
- Format:
- Buku
Deskripsi
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Mulai MembacaInformasi Buku
Single-Handedly: Contemporary Architects Draw by Hand
Oleh Nalina Moses
Deskripsi
- Penerbit:
- Princeton Architectural Press
- Dirilis:
- May 7, 2019
- ISBN:
- 9781616898335
- Format:
- Buku
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Single-Handedly - Nalina Moses
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Preface
I started working as an architect in 1994, at that moment when production work was migrating from the drafting board to the computer screen. Renderings and drawings, which for centuries had been produced by hand, were now also being generated with computer-aided design (CAD) software. Even conceptual studies, which are often critical in establishing the character of a building, were being completed with the computer. Like most architects of my generation, I learned to draw both ways.
This movement from manual to electronic processes was part of a larger culture-wide shift. In architecture, a fundamentally physical art, it caused a deep, perhaps irreparable, fissure. The fallout is apparent in our cities today, a generation later. Major new buildings that have been executed with CAD often have a hollow, imagistic aspect. They feel less like structures than projections. In place of physical charisma, they offer a seamless, sophisticated sheen.
After decades of using CAD almost exclusively, I’ve begun to draw by hand more and more for professional projects, particularly during early stages of design. It’s faster, more direct, and more pleasurable than using a computer, and sometimes a preconscious intelligence intervenes, inspiring fresh solutions. As my own methods shifted, I started wondering if other architects were alsosometimes turning away from the computer, and if hand drawing might have the potential to revitalize the design process.
I began to work on this book by soliciting hand drawings from architects, posting an open call online and reaching out to dozens of practitioners directly. I received submissions from almost four hundred architects. They included architects from Thessaloniki, Moscow, Kuala Lumpur, and Brooklyn. They included prize-winning architects with thriving practices, emerging talents with only a few built projects, and young architects struggling to find work. Almost all of the drawings were completed between 1990 and the present, a time when computer drafting has dominated production.
As I reviewed the drawings, I was amazed by their variety and energy. They included drawings of classical monuments, apocalyptic cityscapes, and garbage-collecting blimps. They included drawings crafted with acrylic paint, coffee, and correction fluid; drawings rendered on Mylar, yellowed notebook pages, and USGS maps. A great number of them were beautiful. Of these, some also possessed an expressive urgency, as if they needed to be drawn. It’s these that made their way into the book.
More than two decades after the shift to computer drafting, architects continue to draw by hand, both professionally and personally. For some it’s a private step in the design process, or an informal way to share ideas with team members. For others it’s a practice that supplements their professional work, exercising an untapped imagination. Even though these drawings usually aren’t released for presentation or construction, remaining largely hidden, the ideas they give expression to can leave traces in our buildings and our environment.
As is evident from the work here, hand drawing remains a fertile, potentially transformative, creative territory. While the computer will remain central to architectural production, I hope that the hand also remains present, and potent.
Many others made important contributions to this book. My editor, Abby Bussel, encouraged me to follow my ideas. My brother, Vijay Moses, and my friend Ajanta Mukherjee managed practical matters. My parents, John and Gracia Moses, offered endless support. And hundreds of talented architects shared their work.
Nalina Moses
New York, 2018
Detail from Lineworks 4.1, Dwayne Oyler, 2013.
Introduction
Handled with Care: Manual Drawing in a Digital Age
While architects today complete production work with state-of-the-art imaging technologies, many also continue to draw by hand. There is something in the act itself—a physical expression—that remains essential to architectural design. At the same time, there is a persistent lack in computer drawing—an intellectual and imaginative blind spot—that calls to be addressed.
A hand drawing is an act of construction. The work on the page predicts, at a fixed scale, the work in the field. Structure, assembly, mechanical services, and finishes are considered in the same order as they are in construction. The tools and media used by the architect shape the marks made, the spirit of the design, and the properties of the building. Drawing by hand is a choreography of mind, eye, and hand. Sitting over a drafting board, the architect maintains an intimate physical relationship with the page. Pen, lead holder, triangles, templates, and rolling straightedge have weight and offer resistance.
Even the most crudely executed hand-drafted drawing possesses a textured, particular surface. When reproduced as a blueprint or photocopy, traces of the original remain. Lines flare and waver before stopping. Revisions leave smudges and absences. Idiosyncrasies in notation and lettering betray the personality of the draftsperson.
At its most potent a hand drawing, in its physical character, can stand for the building itself. A facade elevation rendered in charcoal on rough board shows a concrete building on a narrow, shadowy street. A detailed perspective view in fine pencil lines on tracing paper reveals the fluidly unfolding spaces along the corridor of a glass house.
There is no formal art with as many non-aesthetic constraints as architecture. For any building project, there are inevitably requirements of structure, budget, time, and code. In addition, there are requirements from collaborators including clients, engineers, specialists, and suppliers. Crucial factors in a building’s design are often fixed by pragmatic concerns or through consensus.
It’s typically impossible, because of the hours required in production and management, for a single architect to carry a sizable building project alone from design through completion. Large new buildings might require a team of half a dozen or
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