By Marco Frascari

ISBN-10: 0415779251

ISBN-13: 9780415779258

This ebook offers with the severe nature and an important position of architectural drawings. A guide that's basically now not a handbook; it's an elucidation of a sublime demeanour for working towards structure.

Organized round 11 workouts, the publication doesn't emphasize pace, nor include many timesaving tips regular of drawing books, yet quite proposes a gradual, meditative procedure for construing drawings and for drawing developing suggestions.

This is an quintessential reference textual content and an efficient textbook for college students looking to increase their appreciation of the character and workout of architectural drawings.

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Download PDF by Marco Frascari: Eleven Exercises in the Art of Architectural Drawing: Slow

This e-book bargains with the serious nature and an important position of architectural drawings. A guide that is basically now not a guide; it truly is an elucidation of a sublime demeanour for working towards structure. prepared round 11 workouts, the e-book doesn't emphasize velocity, nor contain many timesaving methods regular of drawing books, yet really proposes a gradual, meditative strategy for construing drawings and for drawing developing strategies.

Additional resources for Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect's Imagination

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11 In a far-reaching essay entitled, “The Work of Art in the Age of Mechanical Reproduction”, Walter Benjamin applies the word “aura” to the sense of awe and reverence that an individual presumably experiences in the presence of unique works of art. Benjamin’s aura is not in the object itself but rather in cultural attributes and values. Aura identifies art’s traditional association with structures of power, magic and religious or secular rituals. ”12 A revealing note that points to architecture as having a unique relationship with aura is found in the footnotes of Benjamin’s essay, “Distraction and concentration form polar opposites … this is most obvious with regard to buildings.

When someone learns to do this, any building can be drawn. The key for learning to draw is an understanding primarily concerned with the sensorial knowledge of the world. This seems to be a given, except that, more often than not, the reason that individuals say they can’t draw a building is because they believe they must draw from a vision. On average, this vision is the result of nothing but a muddling memory of many forms. Unfortunately, this is the most prevalent myth that discourages the majority of architects from drawing in a non-trivial manner.

Also make a pantograph. The original use of the pantograph is for copying and scaling drawings and to enlarge the small sketches you drew at the beginning of this exercise. To make a pantograph cut four strips out of stiff cardboard or rigid plastic, about 25 millimeter wide, and 300 millimeter long. Put them together according to the picture above. Make a hole for the drawing tool. The pushpins go in upside down; you must put a piece of cork over the sharp end that sticks out, for protection. Use a nail to make a pointer.

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Eleven Exercises in the Art of Architectural Drawing: Slow Food for the Architect's Imagination by Marco Frascari


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