This edited collection addresses the vital role of the imagination in the critical interpretation of architectural representations. By challenging the contemporary tendency for computer-aided drawings to become mere ‘models’ for imitation in the construction of buildings, the articles explore the broader range of methods and meanings at stake in the creation and interpretation of architectural drawings, models, images and artefacts. These critical – and often practice-led – investigations are placed alongside a range of historical studies considering the development of representational techniques such as perspective, orthography and diagramming. By also addressing the use of visual representation in a number of related disciplines such as visual arts, film, performance and literature, the book opens up debates in architecture to important developments in other fields. This book is key reading for all students of architecture and architectural theory.

Bridges traditional and contemporary methods of creating architectural design drawings and 3D models through digital tools and computational processes. Drawing from the Model: Fundamentals of Digital Drawing, 3D Modeling, and Visual Programming in Architectural Design presents architectural design students, educators, and professionals with a broad overview of traditional and contemporary architectural representation methods. The book offers insights into developments in computing in relation to architectural drawing and modeling, by addressing historical analog methods of architectural drawing based on descriptive geometry and projection, and transitioning to contemporary digital methods based on computational processes and emerging technologies. Drawing from the Model offers digital tools, techniques, and workflows for producing architectural design drawings (plans, sections, elevations, axonometrics, and perspectives), using contemporary 2D drawing and 3D modeling design software. Visual programming is introduced to address topics of parametric modeling, algorithmic design, computational simulations, physical computing, and robotics. The book focuses on digital design software used in higher education and industry, including Robert McNeel & Associates Rhinoceros® (Rhino 6 for Windows), Grasshopper®, Adobe Illustrator® CC, and Arduino, and features an appendix filled with 10 design drawing and 3D modeling exercises intended as educational and pedagogical examples for readers to practice and/or teach workflows that are addresses in the book. Bridges analog hand-drawing and digital design drawing techniques Provides comprehensive coverage of architectural representation, computing, computer-aided drafting, and 3D modeling tools, techniques, and workflows, for contemporary architectural design drawing aesthetics and graphics. Introduces topics of parametric modeling, algorithmic design, computational simulation, physical computing, and robotics through visual programming environments and processes. Features tutorial-based instruction using the latest versions of Rhinoceros® (Rhino 6 for Windows), Grasshopper®, Adobe Illustrator® CC, and Arduino.

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.

Drawing is the starting point for many kinds of tasks, for everyone from children making pictures to professional architects sketching ideas. Drawing seems to be fundamentally connected to how we represent the world visually. Most computer graphics focuses on realistic visual simulation, but over the past few decades, line drawing algorithms have matured, providing the ability to automatically create reasonable line drawings from 3D geometry. This tutorial provides a detailed guide to the mathematical theory and computer algorithms for line drawing of 3D objects. It focuses on the curves known as contours as they are the most important curves for line drawing of 3D surfaces. The authors describe the different algorithms required to compute and render these curves, before going on to explain boundary curves and surface-surface intersection curves. The tutorial concludes with other topics in 3D non-photorealistic rendering including: other types of curves, stroke rendering, and non-photorealistic shading. Line Drawings from 3D Models: A Tutorial is a concise, yet comprehensive, introduction to an increasingly important topic in computer graphics. The extensive bibliography is invaluable for readers wishing to further their own research in the area.

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.

From the basics of drawing from life, to drawing the human figure from memory, Figure Drawing without a Model is the perfect introduction to the technique of drawing accurate and evocative figures without a life model. Author Ron Tiner offers a course of instruction illustrated with his own work that is designed to encourage artists of all levels and abilities, including cartoonists and graphic artists. Starting with informal sketches and a brief introduction to anatomical structure, readers are guided through the process of bringing a figure to life on the page through lessons in figure movement, exploring how the body shows its age, expresses emotion and displays character. Perfect for all artists, from the beginner to the more experienced, the breadth of styles and depth of knowledge conveyed from a master of the craft makes it easy to learn the art of figure drawing.

For more than half a century, Erwin Panofsky's Perspective as Symbolic Form has dominated studies of visual representation. Despite the hegemony of central projection, or perspective, other equally important methods of representation have much to tell us. Parallel projection can be found on classical Greek vases, in Pompeiian frescoes, in Byzantine mosaics; it returned in works of the historical avant-garde, and remains the dominant form of representation in China. In Oblique Drawing, Massimo Scolari investigates "anti-perspective" visual representation over two thousand years, finding in the course of his investigation that visual and conceptual representations are manifestations of the ideological and philosophical orientations of different cultures. Images prove to be not just a form of art but a form of thought, a projection of a way of life. Scolari's generously illustrated studies show that illusionistic perspective is not the only, or even the best, representation of objects in history; parallel projection, for example, preserves in scale the actual measurements of objects it represents, avoiding the distortions of one-point perspective. Scolari analyzes the use of nonperspectival representations in pre-Renaissance images of machines and military hardware, architectural models and drawings, and illustrations of geometrical solids. He challenges Panofsky's theory of Pompeiian perspective and explains the difficulties encountered by the Chinese when they viewed Jesuit missionaries' perspectival religious images. Scolari vividly demonstrates the diversity of representational forms devised through the centuries, and shows how each one reveals something that is lacking in the others.