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.

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.

This second edition is fully revised and updated and includes new chapters on sustainability, history and archaeology, designing through drawing and drawing in architectural practice. The book introduces design and graphic techniques aimed to help designers increase their understanding of buildings and places through drawing. For many, the camera has replaced the sketchbook, but here the author argues that freehand drawing as a means of analyzing and understanding buildings develops visual sensitivity and awareness of design. By combining design theory with practical lessons in drawing, Understanding Architecture Through Drawing encourages the use of the sketchbook as a creative and critical tool. The book is highly illustrated and is an essential manual on freehand drawing techniques for students of architecture, landscape architecture, town and country planning and urban design.

Equal parts mail art, data visualization, and affectionate correspondence, Dear Data celebrates "the infinitesimal, incomplete, imperfect, yet exquisitely human details of life," in the words of Maria Popova (Brain Pickings), who introduces this charming and graphically powerful book. For one year, Giorgia Lupi, an Italian living in New York, and Stefanie Posavec, an American in London, mapped the particulars of their daily lives as a series of hand-drawn postcards they exchanged via mail weekly—small portraits as full of emotion as they are data, both mundane and magical. Dear Data reproduces in pinpoint detail the full year's set of cards, front and back, providing a remarkable portrait of two artists connected by their attention to the details of their lives—including complaints, distractions, phone addictions, physical contact, and desires. These details illuminate the lives of two remarkable young women and also inspire us to map our own lives, including specific suggestions on what data to draw and how. A captivating and unique book for designers, artists, correspondents, friends, and lovers everywhere.

Since precious few architectural drawings and no theoretical treatises on architecture remain from the premodern Islamic world, the Timurid pattern scroll in the collection of the Topkapi Palace Museum Library is an exceedingly rich and valuable source of information. In the course of her in-depth analysis of this scroll dating from the late fifteenth or early sixteenth century, Gülru Necipoğlu throws new light on the conceptualization, recording, and transmission of architectural design in the Islamic world between the tenth and sixteenth centuries. Her text has particularly far-reaching implications for recent discussions on vision, subjectivity, and the semiotics of abstract representation. She also compares the Islamic understanding of geometry with that found in medieval Western art, making this book particularly valuable for all historians and critics of architecture. The scroll, with its 114 individual geometric patterns for wall surfaces and vaulting, is reproduced entirely in color in this elegant, large-format volume. An extensive catalogue includes illustrations showing the underlying geometries (in the form of incised “dead” drawings) from which the individual patterns are generated. An essay by Mohammad al-Asad discusses the geometry of the muqarnas and demonstrates by means of CAD drawings how one of the scroll’s patterns could be used co design a three-dimensional vault.

RICE'S ARCHITECTURAL PRIMER covers the grammar and vocabulary of British buildings, explaining the evolution of styles from Norman castles to Norman Foster. Its aim is to enable the reader to recognise, understand and date any British building. As Matthew Rice says, ‘Once you can speak any language, conversation can begin, but without it communications can only be brief and brutish. The same is the case with Architecture: an inability to describe the component parts of a building leaves one tongue-tied and unable to begin to discuss what is or is not exciting, dull or peculiar about it.' RICE'S ARCHITECTURAL PRIMER will explain the language of architecture. With it in your hand, pocket or car, buildings will break down beguilingly into their component parts, ready for inspection and discussion. There will be no more references to that curly bit on top of the thing with the square protrusions. Ungainly and inept descriptions will be a thing of the past and, fluent in the world of volutes, hood moulds, lobed architraves and bucrania, you will be able to leave a cathedral or country house with as much to talk about as a film or play. RICE'S ARCHITECTURAL PRIMER starts with an explanation of the basic ‘Grammar' of buildings: elevation, plan, roof, gable and eave. This will enable the reader to better make use of what is to follow. It will also cover the Orders of Architecture – Doric, Tuscan, Ionic, Corinthian and Composite – so that the vital basics of Classicism are covered. Following this is the ‘Vocabulary'. This will be a chronological reference section covering, period by period, the windows, doors and doorcases, columns, chimneys, arches, balustrades and pediments that make up the built environment.

Published on the occassion of the exhibition "Paul Cezanne: The Basel sketchbooks", March - June 1988.