Drawing: The Motive Force of Architecture by Sir Peter Cook

By Sir Peter Cook

Focusing at the artistic and creative importance of drawing for structure, this ebook through one in every of its maximum proponents, Peter cook dinner, is a longtime vintage. It exudes Cook's satisfaction and catholic urge for food for the architectural. Readers are supplied with perceptive insights at each flip. The publication positive aspects a number of the maximum and such a lot exciting drawings by way of architects, starting from Frank Lloyd Wright, Heath-Robinson, Le Corbusier, and Otto Wagner to Frank Gehry, Zaha Hadid, Coop Himmelb(l)au, Arata Isozaki, Eric Owen Moss, Bernard Tschumi, and Lebbeus Woods; in addition to key works by means of cook dinner and different contributors of the unique Archigram group.

For this re-creation, prepare dinner offers a considerable new bankruptcy that charts the rate at which the trajectory of drawing is relocating. It displays the expanding sophistication of obtainable software program and likewise the ways that 'hand drawing' and the 'digital' are being eclipsed through new hybrids—injecting a brand new momentum to drawing. those 'crossovers' supply an entire new territory as makes an attempt are made to liberate drawing from the bounds of a solitary second, a single-viewing place, or a unmarried referential language. that includes the likes of Toyo Ito, Perry Culper, Izaskun Chinchilla, Kenny Tsui, Ali Rahim, John Berglund, and Lorene Faure, it results in attention-grabbing insights into the impression that medium has upon goal and definition of an idea or a spot. Is a pencil drawing extra attuned to a undeniable structure than an ink drawing, or is a selected color evocative of a undeniable surroundings? In a global the place a Mayer drawing is creatively contributing anything diverse from a Rhino drawing, there's a lot to call for of destiny techniques.

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Extra resources for Drawing: The Motive Force of Architecture

Sample text

The convention was to make sure that the castle and the churches were prominently visible among the endless scratchings of the etcher. Common houses and trees were (I suspect) filled in to a formula? So imitating these became a complementary game to the map-making, though the essential difference took some years for me to recognise. If my route into architecture lay somewhere between the mansions, the pins and the etchings, perhaps I should have noticed the links and the differences. In a sense, I am now about to discuss certain architects who present the equivalent of the ‘Prospect from the South-West’ – a drawing that purports to show the whole conglomeration, but has hidden within itself some deliberate hierarchies and distortions.

The underlying dynamic running behind the mannerisms of the parts is clearly a development of the Manhattan Transcripts (1979–80) theme (see Chapter 1). Here, it has to be formalised into a series of pieces that talk across to each other through space, rather than collide. Here, the language of its description (just as with the language of its execution) has to be more publicly acceptable than stark black-and-white. The red preoccupation works graphically, linking the key elements, usefully connecting through the Constructivist language to the Revolution and its heroics – always underscored (in the matrix) by a grey ‘shadow’ or, in the three-dimensional elements, by shade or shadow.

Bernard Tschumi, The Manhattan Transcripts, Part 4: The Block, 1979–80 (excerpts). 2 cm. Bernard Tschumi, The Manhattan Transcripts, Part 4: The Block, 1979–80 (excerpts). 2 cm. In fact it was a summary statement of a whole series of strategies and devices in which the elements of the building and its contained apparatus could be turned, folded, draped, bugged for sound – morphed, in fact, for constant change of programme or illusion. Dynamic being dragged back into architecture. The reassuringness of the general proposition becoming a giant stage into which the limitations of everyday life could be exploded.

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