Image and Representation
Image and representation
Architecture is understood and studied from drawings and images. Drawings possess a life of their own and express the intentions of the architect. In the following essay, I would annotate the various arguments brought forth in the two readings, “The Necessity for Drawing: Tangible Speculation” by Michael Grave and “Architectural Drawings and the Intent of the Architect” by James Smith Pierce. Both the readings discuss about the importance of the language of drawing in architecture. Grave discusses the speculative nature of the language and the three different types of architectural drawings and their nature and purpose in design. Pierce, on the other hand explains how the analysis of the subject of these drawings, their presentation and the medium used can tell us about the intent and approach of the architect.
According to Grave, the three types of architectural drawings are ‘the referential sketch’, ‘the preparatory study’ and ‘the definitive drawings’. The referential sketch is a record and collection of whatever the architect discovers and observes and many such drawings can be combined and elaborated to make a composition. The preparatory study is more experimental. These drawings enquire, examine and elaborate a stated intention and are more towards architectural ends. The third type of drawing, being the definitive drawing is the final step in the process of drawing and leads to the final building. This drawing indicates architectural concepts such as proportion, dimensions and details; it answers questions rather than posing them. Grave illustrates these drawings through the discussion of his project, the Crooks House: how he visually recorded all the themes that he observed, moved to more detailed notations describing the building-landscape continuity and finally completed the proportional aspects of the entire composition. Thus, according to Grave there is no architecture without the
Architecture is understood and studied from drawings and images. Drawings possess a life of their own and express the intentions of the architect. In the following essay, I would annotate the various arguments brought forth in the two readings, “The Necessity for Drawing: Tangible Speculation” by Michael Grave and “Architectural Drawings and the Intent of the Architect” by James Smith Pierce. Both the readings discuss about the importance of the language of drawing in architecture. Grave discusses the speculative nature of the language and the three different types of architectural drawings and their nature and purpose in design. Pierce, on the other hand explains how the analysis of the subject of these drawings, their presentation and the medium used can tell us about the intent and approach of the architect.
According to Grave, the three types of architectural drawings are ‘the referential sketch’, ‘the preparatory study’ and ‘the definitive drawings’. The referential sketch is a record and collection of whatever the architect discovers and observes and many such drawings can be combined and elaborated to make a composition. The preparatory study is more experimental. These drawings enquire, examine and elaborate a stated intention and are more towards architectural ends. The third type of drawing, being the definitive drawing is the final step in the process of drawing and leads to the final building. This drawing indicates architectural concepts such as proportion, dimensions and details; it answers questions rather than posing them. Grave illustrates these drawings through the discussion of his project, the Crooks House: how he visually recorded all the themes that he observed, moved to more detailed notations describing the building-landscape continuity and finally completed the proportional aspects of the entire composition. Thus, according to Grave there is no architecture without the