Untitled, undated drawing

Pencil and red ink on tracing paper. Labeled in lower left in pencil: "B-9" and in lower right "Formal Gardens. Armour." Garden outlined in ink, vegetation in pencil, elevations in red ink. Unsigned. 107.5 cm. x 80 cm. No scale. [from photographic copy by Lance Burgharrdt]

Movement and figurality: The circulation diagram and the history of the architectural plan

Knowledge of the plan competes with self-consciousness of experience. The less we are able to understand our spatio-visual experience by the abstract coordinates of the plan, the more we are thrust back into a lived experience of the building in duration. This formula, frequently unacknowledged, has been one of the main precepts of the experientialist modernism which arises out of the picturesque and which stands in critique of classical idealism. One of the paths to critique this formula is by showing that the attention to the experience of the spaces in duration is predicated on obscuring, complicating and weakening the apprehension of the plan as a figure. Another development in the practice of modern planning has been architects using a kind of over-drawing where human circulation diagrams or 'movement lines' are drawn expressively across the orthographic plane; thus representing the lived experience of buildings. We will show that these two issues are linked; the plan's weak figure and the privilege this supposes for durational experience has a corollary - experience itself demands to be visible in the plan, and this is one origin of the present fascination with 'diagramming'. In this paper we explore the practice of architectural planning and its theoretical underpinnings in an attempt to show the viability of a history of architectural planning methods.

Drawing information : what's a map?

Mapping has in recent years become one of the most common architectural strategies to approach the knowledge of reality. Its real or apparent objectivity has led, in many cases, to consider this system as the only valid approximation to an object of study, discarding other more synthetic, intuitive and impervious procedures of systematic analysis for being partial and subjective. Leaving aside these erroneous exclusions, it is undeniable that the sophisticated contemporary development of maps has produced an enormous range of possibilities.

Drawing process : what's a diagram?

Within the architectural universe there have been numerous attempts in recent years to define the term diagram. Etymologically, it means exclusively “through graphic representation”, which does not clarify much (from the Greek, dia, through + gramma, graphic representation). Jennifer Sigler defines it as the minimum graphic element that explains a concept. Federico Soriano borrows from Federico García Lorca, and claims that diagrams are the marrow of form or content. Efforts to clarify the nature of these powerful graphical representations have multiplied at a similar rate as its ever-increasing use in contemporary architectural projects.

Introduction: the drawing bazaar

Introduction to the research book explaining the reasons behind the need of this publication in the context of architectural education, highlighting the double value of drawing for architects: instrumental as a fundamental tool that qualifies the design process; and autonomous, contemplating the drawing of the architect as a final product in itself beyond the mere illustration and documentation of the project of architecture.

Lady Nugent and Tom Cringle on the veranda : early nineteenth century observations on a Caribbean architectural feature

This study of the veranda as seen through the eyes of Lady Maria Nugent and Michael Scott, alias Tom Cringle, clearly demonstrates the important role that the piazza, as it was then more commonly known, played in the life of early nineteenth century Caribbean colonial society. The popularity of the veranda throughout the region, in places influenced by different European as well as African cultures, and among all classes of people, suggests that the appeal of this typical feature was based on something more than architectural fashion. A place of relative comfort in hot weather, the veranda is also a space at the interface of indoors and outdoors which allows for a wide variety of uses, for solitary or small or large group activities, many of which were noted by Nugent and Scott. Quintessentially, the veranda is a place in which to relax and take pleasure, not least of which is the enjoyment of the prospect, be it a panoramic view, a peaceful garden or a lively street scene. Despite the great changes in the nature of society, in the Caribbean and in many other parts of the world, the veranda and related structures such as the balcony continue to play at least as important a role in daily life as they did two centuries ago. The veranda of today’s Californian or Australian bungalow, and the balcony of the apartment block in the residential area of the modern city are among the contemporary equivalents of the lower and upper piazzas of Lady Nugent’s and Tom Cringle’s day.