Part of the generation of architects who were trained to draw both by hand and with digital tools, Nalina Moses recently returned to hand drawing. Finding it to be direct, pleasurable, and intuitive, she wondered whether other architects felt the same way. Single-Handedly is the result of this inquiry. An inspiring collection of 220 hand drawings by more than forty emerging architects and well-known practitioners from around the world, this book explores the reasons they draw by hand and gives testimony to the continued vitality of hand drawing in architecture. The powerful yet intimate drawings carry larger propositions about materials, space, and construction, and each one stands on its own as a work of art.

The influence and position of the ‘Generation 74’ in Flemish and international architecture Five well-known architects who studied together in Ghent, Marie-José Van Hee, Christian Kieckens, Marc Dubois, Paul Robbrecht and Hilde Daem, can be considered as leading protagonists of their generation. From their education at Sint-Lucas Institute and the Academy of Fine Arts to the present day, their professional careers and legacy have been of great importance to the development of Flemish architecture. In their early works and writings, they established a distinct architectural language, rooted in historical knowledge and with a reflection to art and craftsmanship. Architecture was singled out as a spatial phenomenon with an autonomous logic grounded in inhabitation and experience. This generation represents a significant turn towards architectural autonomy in Flanders which resonated with similar international developments in the late 1970s. Moreover they played a decisive role in the emancipation and professionalization of the architectural culture in Flanders. With contributions by Birgit Cleppe (Ghent University), Sofie De Caigny (CVAa), Maarten Delbeke (Ghent University), Fredie Floré (KU Leuven), William Mann, Yves Schoonjans (KU Leuven), Eireen Schreurs (TU Delft), Lara Schrijver (University of Antwerp), Dirk Somers (Ghent University), Sven Sterken (KU Leuven), Mechthild Stuhlmacher (TU Delft), Hera Van Sande (VUB / KU Leuven), Katrien Vandermarliere, Caroline Voet (KU Leuven)

Peter Salter is an architect and teacher (at the Architectural Association, the University of East London, the University of Bath, and the Welsh School of Architecture) whose work has influenced several generations of students. Walmer Yard, in Notting Hill, is his first residential project in the UK and one of only a small number of buildings he has completed worldwide. Although modest in scale, the project is extraordinary in many ways. On an irregularly shaped site, Salter's design brings four houses into a complex relationship with each other, half-formal, half-familiar, interdependent yet solitary. Similarly, the relations among the core team who developed the design are more nuanced than in most architectural projects, since they all met at the Architectural Association in Peter Salter's unit, where Crispin Kelly (the client) and Fenella Collingridge (Peter's current collaborator) were student contemporaries. This book documents the project with Peter Salter's original pen-and-ink drawings and H�l�ne Binet's extraordinary photographs.

This book explains both the origin and evolution of Miralles' system of representation, from his time as a student at the Barcelona School of Architecture to the latest projects he designed with Benedetta Tagliabue, including the heroic period with Carme Pinós. With previously unpublished drawings from the architect, it demonstrates on a fundamental level how the evolution of representation runs parallel to that of architecture, thus illustrating its indissolubility and mutual interdependence. It is impossible to dissociate the evolution of the architecture of Enric Miralles from the development of his own system of representation. Beginning from a position inherited from his training at the Barcelona School of Architecture and his practice at the office of Viaplana-Piñón, where he acquired a liking for precision in drafting and a graphic style based exclusively on lines of the same thickness, Miralles soon developed a method defined by a customised use of orthographic projections, connected to a fragmented conception of the architectural plan and space itself.

The definitive monograph on Swedish modernist architect Sigurd Lewerentz. Sigurd Lewerentz (1885-1975) is one of the most highly revered--as well as one of the most heavily mythologized--protagonists of modern European architecture. Arguably Sweden's most distinguished modernist, he is more influential for architects around the world today than he was during his lifetime. Countless architecture lovers from around the world visit his buildings. Stockholm's woodland cemetery Skogskyrkogården, his most significant contribution to landscape design, is a UNESCO World Heritage Site. This authoritative new monograph on Sigurd Lewerentz is based on extensive research undertaken at ArkDes, Sweden's national center for architecture and design, where his archive and personal library are kept. It features a wealth of drawings and sketches, designs for furniture and interiors, model photographs, and more from his estate, most of which are published here for the first time, alongside new photographs of his realized buildings. Essays by leading experts explore Lewerentz's life and work, his legacy, and lasting significance from a contemporary perspective. This substantial, beautifully designed book offers the most comprehensive survey to date of Lewerentz's achievements in all fields of his multifaceted work.