Collects pages from the private sketchbooks of architects and studios from around the world, and includes comments from the artists as well as details on how they use sketching to evolve inspirations and concepts into more developed ideas.

A rich and varied glimpse into the creative processes of a broad array of contemporary architects. While digital technologies have pushed the boundaries of architectural creation, conceiving an original and appropriate design is as challenging as it has always been. As this book shows, however, a recent return to the basic act of putting pen or pencil to paper has produced some of the most successful buildings of the past decade. Making Marks follows the highly successful Architects’ Sketchbooks, which presented the rich breadth of sketches created by contemporary architects post digital revolution. Taking a post-digital perspective, the sixty renowned architects whose work is collected here show how drawing and new forms of manual presentation have been refined since the reawakening of this basic technique. Revealing why hand-drawing still matters, this global survey presents the freehand drawings, vibrant watercolors, and abstract impressions of a broad and eclectic array of rising talents and well-known names, including Jun Igarashi, Deborah Saunt, Daniel Libeskind, Meg Graham, and Brian MacKay-Lyons, to name but a few. Author Will Jones’s introduction reviews the importance of the physical sketch and its vital role in the creative process. Spanning diverse approaches, styles, and physical forms, Making Marks is not merely a compendium of the preoccupations and stylistics of current practice, but a rich and varied insight into architectural creativity.

George Saumarez Smith is one of Britain's foremost classical architects. His sketchbooks display a supreme mastery that goes beyond technique and assumes the status of art.

Upon the opening of the Gallery of Modern Art in Munich, the museum director asked noted architects to sketch their personal messages on paper napkins, thus creating this colorful collection.

Drawings, doodles, and ideograms argue with ferocity and wit for traditional urbanism and architecture. Architect Léon Krier's doodles, drawings, and ideograms make arguments in images, without the circumlocutions of prose. Drawn with wit and grace, these clever sketches do not try to please or flatter the architectural establishment. Rather, they make an impassioned argument against what Krier sees as the unquestioned doctrines and unacknowledged absurdities of contemporary architecture. Thus he shows us a building bearing a suspicious resemblance to Norman Foster's famous London “gherkin” as an example of “priapus hubris” (threatened by detumescence and “priapus nemesis”); he charts “Random Uniformity” (“fake simplicity”) and “Uniform Randomness” (“fake complexity”); he draws bloated “bulimic” and disproportionately scrawny “anorexic” columns flanking a graceful “classical” one; and he compares “private virtue” (modernist architects' homes and offices) to “public vice” (modernist architects' “creations”). Krier wants these witty images to be tools for re-founding traditional urbanism and architecture. He argues for mixed-use cities, of “architectural speech” rather than “architectural stutter,” and pointedly plots the man-vehicle-landneed ratio of “sub-urban man” versus that of a city dweller. In an age of energy crisis, he writes (and his drawings show), we “build in the wrong places, in the wrong patterns, materials, densities, and heights, and for the wrong number of dwellers”; a return to traditional architectures and building and settlement techniques can be the means of ecological reconstruction. Each of Krier's provocative and entertaining images is worth more than a thousand words of theoretical abstraction.

Have you ever wondered what the difference is between Gothic and Gothic Revival, or how to distinguish between Baroque and Neoclassical? This guide makes extensive use of photographs to identify and explain the characteristic features of nearly 300 buildings. The result is a clear and easy-to-navigate guide to identifying the key styles of western architecture from the classical age to the present day.

Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives. The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.