Featuring 165 expertly reproduced visionary architectural drawings from The Museum of Modern Art's Howard Gilman Archive, this collection brings together a selection of idealized, fantastic and utopian architectural drawings.

Architectural drawings and models are instruments of imagination, communication, and historical continuity. The role of drawings and models, and their ownership, placement, and authorship in a ubiquitous digital age deserve careful consideration. Expanding on the well-established discussion of the translation from drawings to buildings, this book fills a lacuna in current scholarship, questioning the significance of the lives of drawings and models after construction. Including emerging, well-known, and world-renowned scholars in the fields of architectural history and theory and curatorial practices, the thirty-five contributions define recent research in four key areas: drawing sites/sites of knowledge construction: drawing, office, construction site; the afterlife of drawings and models: archiving, collecting, displaying, and exhibiting; tools of making: architectural representations and their apparatus over time; and the ethical responsibilities of collecting and archiving: authorship, ownership, copyrights, and rights to copy. The research covers a wide range of geographies and delves into the practices of such architects as Sir John Soane, Superstudio, Eugène-Emmanuel Viollet-le-Duc, Frank Lloyd Wright, Wajiro Kon, Germán Samper Gnecco, A+PS, Mies van der Rohe, and Renzo Piano.

What do you communicate when you draw an industrial landscape using charcoal; what about a hyper-realistic PhotoShop collage method? What are the right choices to make? Are there right and wrong choices when it comes to presenting a particular environment in a particular way? The choice of medium for visualising an idea is something that faces all students of landscape architecture and urban design, and each medium and style option that you select will influence how your idea is seen and understood. Responding to demand from her students, Nadia Amoroso has compiled successful and eye-catching drawings using various drawing styles and techniques to create this book of drawing techniques for landscape architects to follow and - more importantly - to be inspired by. More than twenty respected institutions have helped to bring together the very best of visual representation of ideas, the most powerful, expressive and successful images. Professors from these institutions provide critical and descriptive commentaries, explaining the impact of using different media to represent the same landscape. This book is recommended for landscape architecture and urban design students from first year to thesis and is specifically useful in visual communications and graphic courses and design studios.

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.

This stunning two-volume publication introduces readers to one of the largest private collections of architectural drawings in the world. Showcasing drawings and related models and artefacts dating from 1691 to the mid 20th century, this lavish tome includes both a catalogue and new texts by leading authorities and provides a fascinating look at these often very beautiful by-products of architectural training and practice. One of the largest private collections of architectural drawings in the world has been assembled over 30 years by investor and philanthropist Peter May. Comprising more than 600 sheets that have all been carefully preserved and handsomely framed, the drawings and related models and artefacts date from 1691 to the mid 20th century. This handsome two-volume publication will introduce amateurs and specialists alike to the largely unknown collection. The book includes a catalogue and innovative texts by leading authorities that present the raison-d'être for the production and preservation of these sometimes neglected by-products of architectural training and practice that have been collected off-and-on through history by individuals and institutions. The architectural sheets acquired for the collection are principally 19th- or early 20th-century competition or certification drawings by design students. Others are presentation drawings for public commissions, reconstruction studies or interior designs. The catalogue is arranged by category, to demonstrate May's inclination towards specific building types such as commercial or cultural institutions, train stations and spas, landmarks and monuments, private and royal residences, and cast-iron architecture. Also included is a category for landscape designs and garden architecture, reflecting May's experience as a gentleman farmer with a predilection for building.Peter May informs the reader about his history as a collector and builder. Maureen Cassidy-Geiger discusses the formation of the collection and with Basile Baudez introduces the French system of architectural education, from which some of the finest drawings come. Charles Hind offers a history of design training in Britain and writes about patterns of collecting and the market for architectural drawings. Matthew Wells's subject is the history of architectural models.

This catalogue presents the first comprehensive study of the Italian architectural drawings in the Cronstedt Collection in the Nationalmuseum, Stockholm, comprising 181 drawings dating from c. 1560 to co. 1630.

An elegant presentation of stunning and inspiring architectural drawings from antiquity to the present day Throughout history, architects have relied on drawings both to develop their ideas and communicate their vision to the world. This gorgeous collection brings together more than 250 of the finest architectural drawings of all time, revealing each architect's process and personality as never before. Creatively paired to stimulate the imagination, the illustrations span the centuries and range from sketches to renderings, simple to intricate, built projects to a utopian ideal, famous to rarely seen - a true celebration of the art of architecture. Visually paired images draw connections and contrasts between architecture from different times, styles, and places. From Michelangelo to Frank Gehry, Louise Bourgeois to Tadao Ando, B.V. Doshi to Zaha Hadid, and Grafton to Luis Barragán, the book shows the incredible variety and beauty of architectural drawings. Drawing Architecture is ideal for art and architecture lovers alike, as well as anyone interested in the intersection of creativity and history. From the publisher of Exhibit A: Exhibitions that Transformed Architecture, 1948-2000.