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.

How architectural drawings emerged as aesthetic objects, promoted by a network of galleries, collectors, and institutions, and how this changed the understanding of architecture. Prior to the 1970s, buildings were commonly understood to be the goal of architectural practice; architectural drawings were seen simply as a means to an end. But, just as the boundaries of architecture itself were shifting at the end of the twentieth century, the perception of architectural drawings was also shifting; they began to be seen as autonomous objects outside the process of building. In Drawing on Architecture, Jordan Kauffman offers an account of how architectural drawings—promoted by a network of galleries and collectors, exhibitions and events—emerged as aesthetic objects and ultimately attained status as important cultural and historical artifacts, and how this was both emblematic of changes in architecture and a catalyst for these changes. Kauffman traces moments of critical importance to the evolution of the perception of architectural drawings, beginning with exhibitions that featured architectural drawings displayed in ways that did not elucidate buildings but treated them as meaningful objects in their own right. When architectural drawings were seen as having intrinsic value, they became collectible, and Kauffman chronicles early collectors, galleries, and sales. He discusses three key exhibitions at the Leo Castelli Gallery in New York; other galleries around the world that specialized in architectural drawings; the founding of architecture museums that understood and collected drawings as important cultural and historical artifacts; and the effect of the new significance of architectural drawings on architecture and architectural history. Drawing on interviews with more than forty people directly involved with the events described and on extensive archival research, Kauffman shows how architectural drawings became the driving force in architectural debate in an era of change.

Architecture through Drawing examines how drawing - as both action and object - encapsulates complex ideas relating to culture, technology, space and the built environment. Bringing together an array of beautiful and rarely seen drawings dating from the sixteenth century to the present day, all representing different geographical locations, techniques, methodologies and purposes, the book defines a new field for the subject of the drawing in architecture. It reveals the motives for architectural drawing beyond the requirement to document the processes that underpin the realisation of the architectural object. This book asks, fundamentally, whether drawings can illuminate new interpretations of architectural experimentation. Examples range from initial sketches by architects to analytical and construction drawings, perspectives and schematics, collage and more complex presentations and paintings often carried out in association with others. Dialogues include Fabrizio Ballabio on Filippo Juvarra's Ottoboni Theatre; Desley Luscombe on Ludwig Mies van der Rohe; Mark Dorrian on Michael Webb; Nicholas Olsberg on Victorian architects William Butterfield, Norman Shaw and GE Street; Charles Rice on James Gowan; Laurent Stalder on perspective in postwar housing; Helen Thomas on the covers of San Rocco; John Macarthur on clouds; Markus Lähteenmaäki on Superstudio; and Erik Wegerhoff on the Viennese Auto-Expander. The volume is rounded off with an epilogue, 'The Limits of Drawing', by Adrian Forty and Sophie Read.

The book is a guide for students and teachers to understand the need for, the role of and the methods and techniques of freehand analytical sketching in architecture. The presentation focuses on drawing as an approach to and phase of architectural design. The conceptual goal of this approach is to use drawing not as illustration or depiction, but as exploration. The first part of the book discusses underlying concepts of freehand sketching in design education and practice as a complement to digital technologies. The main component is a series of chapters that constitute a typology of fundamental issues in architecture and urban design; for instance, issues of "façade" are illustrated with sketch diagrams that show how façades can be explored and sketched through a series of specific questions and step-by-step procedures. In the expanded and updated edition, a new part explores the questions and experiences of large architectural offices in applying freehand drawing in the practice of architectural design. This book is especially timely in an age in which the false conflict between "traditional vs. digital" gives way to multiple design tools, including sketching. It fosters understanding of the essential human ability to investigate the designed and the natural world through freehand drawing.

The completely updated, illustrated bestseller on architectural graphics with over 500,000 copies sold Architectural Graphics presents a wide range of basic graphic tools and techniques designers use to communicate architectural ideas. Expanding upon the wealth of illustrations and information that have made this title a classic, this Fourth Edition provides expanded and updated coverage of drawing materials, multiview drawings, paraline drawings, and perspective drawings. Also new to this edition is the author's unique incorporation of digital technology into his successful methods. While covering essential drawing principles, this book presents: approaches to drawing section views of building interiors, methods for drawing modified perspectives, techniques for creating accurate shade and shadows, expert styles of freehand sketching and diagramming, and much more.

A comprehensive introduction to architecture and architectural history and exceptional in its approach, this book explores architecture in relation to history and the wider context of cultures, conservation and the environment.

Evolving from a drawing course taught to first-year architecture students, this text teaches the foundations, taking the point of view that drawing is fundamentally a tactile and kinesthetic act (for which the author gives credit to Kimon Nicolaides and his book The Natural Way to Draw. Theory, exercises, and examples combine to present the art of drawing as an "act of making rather than as an act of viewing." May be the one drawing book architecture students need, and certainly should interest art students and others outside of architecture as well. Annotation copyright by Book News, Inc., Portland, OR