By Kendra Schank Smith

Publish 12 months note: First released in 2008

Concepts from architects' minds evolve via sketches and as a method of transference are conveyed to the completed construction. This booklet compares features of sketches to bare particular ways to the tools of pondering within which all architects interact. It presents new perception into the connection among architectural sketches and the method of inventive manipulation.

Sketches contain 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 overview, their pertinence lies of their skill to express either the correct and the obscure.

Exploring 4 comparable theoretical ways, play, memory-imagination-fantasy, sketch and the gruesome, the e-book exhibits how imprecision stimulates mind's eye to conceive new varieties within the discussion of architectural sketches.

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Extra resources for Architects' Sketches: Dialog and Design

Sample text

The sketch becomes the medium that communicates concepts to others in an office and also helps express emotional or poetic concepts. Architectural sketches can be applied to facilitate communication with, or to impress, a client. These examples make clear that the sketch plays a communicative role beyond that of a mere messenger. Architects also use sketches to record; they can be used to record a likeness or a fleeting impression. They may be a travel companion to aid visual recollection or to register an emotion or a thought.

Architects may begin to draw early impressions that could lead to associative impulses, making the whole process difficult to circumscribe. The mental reflection of imagination is not always an escape to the illusionary; it can also be a pondering of associations to attain new knowledge. Italo Calvino looks at one aspect of imagination involving possibilities and association: Still there is another definition in which I recognize myself fully, and that is the imagination as a repertory of what is potential, what is hypothetical, of what does not exist and has never existed, and perhaps will never exist but might have existed…The poet’s mind, and at a few decisive moments the mind of the scientist, works according to a process of association of images that is the quickest way to link and to choose between the infinite forms of the possible and the impossible.

Mechanical reproduction, or any kind of duplication, precludes play since the creative excitement lost through replication is irretrievable. This process cannot be repeated, and what the architect discovered does not need to be ‘found out’ again. It would be tautological to attempt the sketches again, as the thought has been absorbed or built upon once. Hans-Georg Gadamer writes about form, referring to the repeatability of play, especially a theatrical play. As the play 32 becomes repeatable and permanent, it loses the qualities of a game: ‘[t]hus, transformation into structure means that what existed previously exists no longer.

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